Arizona Republic's Scores

  • Movies
  • TV
For 2,496 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 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Lowest review score: 10 The Legend of Hercules
Score distribution:
2496 movie reviews
  1. In Billie Eilish: The World’s a Little Blurry, director R.J. Cutler’s film about the Grammy-winning singer-songwriter, he allows the audience to come in its own time to what seems obvious by the end: For all of her talent, which is considerable, and her brilliance as a recording artist, Eilish is a teenager trying to figure out her place in the world.
  2. Meanwhile, the Russos are ensuring that you never forget you’re watching a movie, and a stylized one at that. Note the names of the banks Holland’s character robs, for instance, or other little details. Granted, the person telling the story — Holland’s character — is an unreliable narrator for much of the film. But there’s a fine line between spicing things up and showing off.
  3. It’s mostly a biography of Holiday — nothing wrong with that, certainly when you’ve got a performance as stunning as Andra Day’s in the title role.
    • 65 Metascore
    • 80 Critic Score
    Quirky characters. A killer soundtrack. Vibrant imagery. Noah Centineo's adorable, squishy little grin. A teenage love story that's equal parts outrageous and delightful.
  4. Minari is as moving as it is entertaining, and it is a lot of both.
  5. Sam Levinson’s film is meant to be a harsh, unyielding examination of a relationship, and thanks to stunning performances by Zendaya and John David Washington, it sometimes is.
  6. The story is infuriating — not in the way King presents it, not at all, but in its details. The manipulation of justice is heartbreaking. Though sadness isn't what you'll most likely feel while watching. Anger is. The betrayal in Judas and the Black Messiah extends far beyond the title character, making it an even greater tragedy.
  7. It’s got an interesting structure — it’s not just about catching a killer but also about revealing Deke’s story. But it ultimately suffers for that, the dueling narratives not blending together so much as competing. Of course, you could do worse than watch actors like Washington, Malek and Leto work. But at the end of The Little Things, you feel like you could do better, too.
  8. The film is a fascinating struggle between Balram’s promise and capability and the generations of ingrained, unfeeling privilege that stacks the deck against him.
  9. There is a gentleness, both to Allyn’s performance and to the film overall, that draws the audience in. The movie’s path is as predictable as Jackson’s, but it’s beautifully shot and the idea is a good one — reversing the typical border-crosser-on-the-run idea. That doesn’t forgive all of its shortcomings, but it comes close.
  10. Simon Stone’s film, about a famous archaeological discovery, has an excellent cast, led by Carey Mulligan, Ralph Fiennes and Lily James, all in top form. It takes place just as England is entering World War II, so there’s that, too. And since this evidently isn’t enough, some romance gets tacked on, as well.
  11. The Marksman is not awful. It’s not particularly good, either, but it’s not the disaster it should have been. Part of that has to do with the way Lorenz stages the action — well-choreographed and tense. Part of it has to do with Perez, who combines being adorable with a kind of hard-won wisdom beyond his years that makes for a completely winning character.
  12. Dunne's performance is quietly assured; Sandra's strength may waver, but it never falters. You root for her. You root for the movie, something that Lloyd purposely makes difficult to do at times. That’s going to throw some people, no doubt. But she resists easy resolution, making “Herself” a satisfying experience.
  13. We are daily reminded of the importance of a free media, of free speech. The Dissident is a reminder of how far some governments will go to suppress it.
  14. It’s fantastic.
  15. It's never less than edge-of-your-seat fun.
  16. Promising Young Woman is a dark tale of revenge, shot through with black comedy. At every turn, it’s almost too much. As is the performance by Carey Mulligan. Except that performance turns out to be just right. It’s a no-holds-barred wonder, easily one of the best of the year.
  17. Soul asks its audience to examine what in life truly is important. You never know what your spark might be, until suddenly you do. And it might not be what you think. Turns out you may have had it all along.
  18. It’s a brilliant performance, Boseman coaxing so many emotions and feelings out of a deceptively complex character. His expressive eyes tell a lot of the story for him.
  19. It’s not derivative. It’s just familiar. But it also boasts two unique elements.
  20. Clooney’s hollowed-out performance — truly, he seems exhausted by life and disgusted by humanity, with a notable exception — is effective. But as a director, he creates two distinct worlds and struggles to bring them together.
  21. Wonder Woman 1984 director Patty Jenkins’ long-awaited sequel, is a much better film. It’s not that it’s lacking in chaos. (With a running time of 2 hours and 31 minutes, it's not lacking in much.) It just uses chaos more judiciously. That's fitting for a film about wretched excess, about getting what you want and realizing that maybe you were better off without it.
  22. It’s not particularly revelatory for fans, covering such a long expanse of time that it’s perhaps necessarily a little shallow in places. It is, however, a sometimes fascinating look at a career that had highs and lows even fans may not know about, as well as the tricky dynamics of creating music with your family.
  23. I like the glitter. And I like The Prom in a general kind of way. It’s just not the show-stopper it might have been.
  24. The film is ultimately an excuse to watch and enjoy Streep, Wiest and Bergen. Sometimes roles for outstanding actors who aren’t in their 20s and 30s anymore wind up being embarrassing misfires (see the cloying “And So It Goes” or “Book Club” for examples or, better yet, don’t see them). That’s not the case here. Let Them All Talk is a low-key success.
  25. Marder uses sound and silence as essential character elements. He offers frequent, jarring contrasts between what Ruben hears and what we do. This isn’t just to emphasize what Ruben has lost. It’s also a reminder: Silence can be shattering. It can also be beautiful. And it can bring peace.
  26. Bettany is outstanding. He infuses Frank with just the right amount of inner turmoil and confusion as he tries to balance his love for his family with the wounds they have inflicted upon him — and as he tries to come to terms with his own identity among them.
  27. Like the first film, The Croods: A New Age is a pleasant enough movie. It may not make you forget the original, but only because you probably already had.
  28. So sickeningly sweet dentists should show it in their waiting rooms to ensure business, the film just isn’t very good, even by treacly holiday film standards.
  29. Not just an enjoyable story to watch but an educational look into hidden history that seeks to show its never a good idea to paint anyone with a broad brush.

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