Arizona Republic's Scores

  • Movies
  • TV
For 2,400 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Her
Lowest review score: 10 The Legend of Hercules
Score distribution:
2400 movie reviews
  1. First Cow sneaks up on you a little bit. You become engrossed in these men and their relationship, then their business, then their survival. And that’s definitely not nothing. Far from it, in fact
  2. What She Said is a good movie, an engaging look at probably the most influential film critic of all time. (If you want to make a case for Roger Ebert, know that he was one of her followers.) But it’s obviously not the best way to understand her work and her influence. There’s only one real way to do that: Read her.
  3. In the final minutes, the characters make several choices that defy logic, leaving the audience to wonder what happened to the savvy operators presented in the early parts of the film.
  4. Wendy is not glossy by any means but it feels like an escape from the soulless live-action Disney remakes audiences have become accustomed to.
    • 61 Metascore
    • 80 Critic Score
    You don't really know what the movie is truly about until the third act. For some, that might be a lengthy journey you don't want to take. But for many, it's an emotional adventure — full of touching moments and captivating visuals — that's well worth the wait.
  5. It's clear that de Wilde adores Emma, for all her challenges, just as much as her fictional admirers. And audiences should fall in love with her again, too.
  6. The Invisible Man is a thrilling movie. If nothing else, it will make you question if that feeling you get of being watched is just in your head, or if there really is somebody else in the room.
  7. It all falls ultimately to Keough, who is outstanding at portraying the duality of a character, a duality the story demands.
  8. The Call of the Wild is a fascinating movie, visually.
    • 73 Metascore
    • 80 Critic Score
    Ordinary Love is not a movie solely about cancer. It is a raw, on-screen adaptation of what hundreds of couples experience when their limits are tested — physically, mentally and romantically. This film, like the love these couples have for one another, will stand the test the time.
  9. It all adds up to a decent movie — one that, for those in the know, stands in the shadow of a better one.
  10. Green shows us nothing lurid, nothing explicit. Instead she lets the toxicity build, bit by bit, until it’s seeped in everywhere. That’s powerful, and that’s worse, too.
  11. It’s a film that gets brilliantly to the truth of how and why we fall in love, and replicates that sensation — and the heartache that follows.
    • 60 Metascore
    • 80 Critic Score
    Indeed, the best parts of Birds of Prey are the action sequences of the all-women team fighting together, but many of these scenes don't take place until the movie's second half.
  12. When it reaches its boiling point, Les Misérables absolutely roils.
  13. Procedural and uninspired, the Vietnam War-focused melodrama The Last Full Measure isn't as strong as its real-life hero.
    • 51 Metascore
    • 40 Critic Score
    Take away the confusing plot and throwaway punchlines and the cast is by far the best part of the film — and the reason many will go see it. If only they were part of a different movie. The Gentlemen doesn't live up to the hype.
  14. Clemency isn’t exactly a good time at the movies, but it’s definitely an enlightening one.
  15. If you enjoyed the first two “Bad Boys” movies, you’ll want to see how the characters have developed. If you aren’t a fan of the series, there is a strong enough story to make the film worthwhile.
    • 26 Metascore
    • 50 Critic Score
    Dolittle’s animals are easier to relate to, with their humanlike self-esteem and family issues, than the film’s central characters.
  16. War is much on the minds of people right now, and 1917 is a good reminder, flaws and all, of what that really entails. The contradiction, of course, is that it is not one long slog through gorgeous sunsets, but a million little moments that make up the effort. That’s kind of the movie Mendes made, and yet it’s not. You want to feel a movie like this, but too often you simply appreciate it.
  17. The script to this flop doesn't even have enough laughs to amuse someone in the most boring of orthodontist waiting rooms.
  18. It’s an unnecessarily complicated puzzle-box construction that only serves to cheapen the story and diminish its impact
    • tbd Metascore
    • 40 Critic Score
    Make no mistake, “Hold On” proves De Ette a talented singer, one destined for success. We didn’t need a movie to see that. A music video would have sufficed.
  19. The writing and editing aren’t up to the task of retrofitting Alcott’s straightforward narrative with a sophisticated chronology and rob it of dramatic tension in the process.
  20. Cinematographer Darius Khondji gives the film a gritty, twitchy feel. The Safdies give it a story and a pace that never lets up. But Sandler gives it life, and makes Uncut Gems a must-see movie. Just remember: breathe.
  21. Though the stories explored in Bombshell are explosive, the film's uneven pace makes them merely sizzle like reading a news brief instead of an illustrative Vanity Fair profile.
  22. A Hidden Life is less a story than an experience, a spiritual journey made accessible through light and sound. Malick doesn’t transcend cinema. He sanctifies it.
  23. I guess I was charmed in spite of myself. I’m reminded of a quote from Alexander Pope I had to memorize as a kid, which gave me fair warning about the likes of Andrew Lloyd Webber and “Cats”: “Vice is a monster of so frightful mien / as to be hated needs but to be seen; / Yet seen too oft, familiar with her face, / We first endure, then pity, then embrace.” Did I tear up a little? Maybe. Do I ever need to see “Cats” again? Nah, I’m good.
  24. How do you end the most iconic franchise of all time? (Don’t panic, there will be more movies, just not a part of this particular universe.) You end it by trying to please everyone. Which can make it hard to please anyone. But Abrams is a crowd-pleaser and a good one. He’s made a film that is unquestionably entertaining and wraps things up in a way that will make fans happy.

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