Arizona Republic's Scores

  • Movies
  • TV
For 2,092 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Jungle Book
Lowest review score: 10 The Legend of Hercules
Score distribution:
2092 movie reviews
  1. A Kid Like Jake, isn't terrible, but it sure could be better.
  2. You’ve heard this song before and can predict all the emotional high notes before they hit, but sometimes that’s all you need from a summer bop.
  3. It’s a film entirely lacking in pomp, but there’s a certain bravado in its delicate reservation. A tender and spare meditation on family unfurls in the stillness of a sleepy, sun-soaked Spanish summer.
  4. Tag
    The biggest problem is the whiplash-inducing tonal shifts. Director Jeff Tomsic, working from a script by Mark Steilen and Rob McKittrick, swings from violent slapstick to tender moments in slapdash fashion. You can’t get a handle on it, though maybe that’s fitting in a movie about trying to keep from being tagged.
  5. It’s good — funny, smart and contemporary. By definition it can’t be as groundbreaking as the first film, but never does it feel like a cash grab.
  6. Mostly it's brilliant, challenging, deliberate, scary as all get out. It's as much a portrait of a dysfunctional family as it is a horror movie. But don't let that relax you. It's definitely a horror movie.
  7. It’s befuddling that such a barrier-breaking filmmaker would make a biopic about a woman who shares similar daring qualities that’s so … ordinary. To make boring the revelries of 19th century literati is no mean feat, but it is Mary Shelley's chief accomplishment.
  8. Writer and director Drew Pearce makes his feature debut in a confused, jumbled film that never quite gets its story straight.
  9. Neville, who won an Oscar for "20 Feet from Stardom," could have gone a different route, maybe try to dig up some dirt. But there really doesn't seem to be any. I don't know if it's Rogers' influence, but I like this film just the way it is.
  10. Thanks to Layton's filmmaking choices, American Animals ends up being not so much a crime movie as an examination of truth and memory, as well as blame and responsibility. And it's a lot better for it.
  11. Bullock’s performance anchors the movie — and nearly drags it down. Ocean’s 8 has the cast, and the cultural moment, it needs. It just doesn’t do enough with it.
    • 56 Metascore
    • 70 Critic Score
    Despite predictability, flashback hopping and cheesy lines, Adrift takes viewers on a trip through beautiful cinematography and gut-wrenching performances that are worth seeing.
  12. Paul Schrader’s First Reformed is an amazing examination of faith, a film that stays with you long after you have left the theater.
  13. It’s one part history lesson and one part ode to the rapidly fading quality of refinement. But mostly, it’s a chance to indulge in juicy celebrity stories, catnip for those who love that kind of thing.
  14. On Chesil Beach, Dominic Cooke’s adaptation of Ian McEwan’s bestseller, features a couple of outstanding performances, but you have to suffer through some serious heartbreak to enjoy them. If “enjoy” is even the word. This is seriously depressing stuff. But good! Really. Don’t let the downbeat vibe scare you off.
  15. There are shortcomings in this film, and most of them are Wenders’ responsibility. But there is also inspiration here, if you’re willing to look for it.
  16. These supremely talented women are put through embarrassing paces by director and co-writer Bill Holderman. It’s meant to be a film about a reawakening of desire, and thus life. It turns out to be a wince-inducing mess.
  17. Denis (“Beau Travail,” “35 Shots of Rum”) is a very particular filmmaker, forcing you to adjust to her rhythms. Never is that more apparent than the last scene, which goes on for a quarter of the film or more, right through the end credits and beyond.
  18. On the whole it’s a remarkably controlled exercise. It’s to the film’s credit that Moll is the center of attention from start to finish, and not even a romantically damaged bad boy can steal the spotlight from her barely contained wildfire of emotions.
  19. Yes, it recalls “Turner and Hooch,” a movie Show Dogs references so many times you start to feel nostalgic for it. And when you find yourself longing for “Turner and Hooch,” things are very bleak indeed.
  20. A perfectly capable movie that has chases and romance and double-crosses and double-double-crosses and action and is, ultimately, absolutely inessential.
  21. Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.
  22. Breaking In is a shallow nod to female empowerment, not the embodiment of it.
  23. The case is a gut punch to the American dream, and yet Little Pink House is a tepid viewing experience, in part because it rarely invites us into these homes so we can lament their loss.
  24. The elements are in place for a decent little movie, but Loach overplays everything, offering nothing in the way of surprises. Bobby’s supposed transformation isn’t particularly revelatory, but then, neither is anything else.
  25. What’s as striking as the violence is Fargeat’s confidence as a filmmaker. She risks absurdity at every turn, fearlessly daring the audience to accept unlikely scenarios. Take that challenge. However difficult “Revenge” may be to watch at times, it’s worth it.
  26. Racer and the Jailbird, the inelegantly translated title of “Le Fidele,” is a first-rate caper movie. It’s also a pretty good romance. And a boring, suffocating melodrama.
  27. It’s a movie devoid of storytelling momentum, conflict and, worst of all, much in the way of laughs.
  28. The best thing about Ghost Stories — and there are a lot of good things — is the confidence of its directors.
  29. Lelio, who also directed the excellent “Gloria” and last year’s Oscar winner for best foreign film, “A Fantastic Woman,” never shortchanges the desire or the faith, a neat balancing act between the competing elements at the heart of Disobedience, and the success of which makes it so compelling and worthwhile.

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