For 1,015 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Days of Heaven
Lowest review score: 0 The Avengers
Score distribution:
1,015 movie reviews
    • 90 Metascore
    • 100 Keith Phipps
    It's all presented in a detached style that's ultimately much more moving and truthful than any heartstring-slashing weeper. This may be Egoyan's best work yet, and it's surely one of the best films of the year.
    • 88 Metascore
    • 100 Keith Phipps
    What makes Towers so staggering is the way it brings the full scope of Jackson's adaptation into focus. Without missing a beat in three hours, the film shifts from epic to lyrical and back.
    • 94 Metascore
    • 100 Keith Phipps
    Unchecked goodness has its price, after all, and childhood wonder wouldn't be nearly as sweet if it didn't fade. That may explain the film's appeal. It trapped that feeling, and its sense of possibility, in amber -- then, now, and for any time.
    • 85 Metascore
    • 100 Keith Phipps
    While it's very funny, Boogie Nights taps into something much deeper with its on-target depiction of the shifting political and social tides of the '70s and '80s and thoughtful relationships between characters. It's a deeply satisfying movie.
    • 79 Metascore
    • 100 Keith Phipps
    The film finds a surprising amount of tenderness and humor beneath the brutality. The laughs may catch in the throat, but that's only a byproduct of City Of God's power to leave viewers breathless.
    • 90 Metascore
    • 100 Keith Phipps
    An excellent movie, as effective in battle scenes as it is in that of soldiers ruminating on an Edith Piaf song.
    • 86 Metascore
    • 100 Keith Phipps
    At once a devastating condemnation of war and an exciting action film...The additional running time only adds to Petersen's masterfully bleak, claustrophobic atmosphere. Das Boot is by no means a pleasant experience, but it's an intelligent and emotionally gripping one that you won't forget. [Director's Cut]
    • 78 Metascore
    • 100 Keith Phipps
    One of the best films of the year.
    • 70 Metascore
    • 100 Keith Phipps
    A rousing, reverent, often brilliant re-creation of a seminal comics character, Batman Begins proves Batman is at home in the 21st century as he was in the 20th.
    • 85 Metascore
    • 100 Keith Phipps
    It's hard to film icons like Young as anything BUT icons, but Demme's film gets past the legend, zooming in on Young's aged, heroic face and finding an artist as human as the rest of us.
    • 84 Metascore
    • 100 Keith Phipps
    It's a heartbreaking, bullet-strewn valentine to what keeps us human.
    • 91 Metascore
    • 100 Keith Phipps
    The ultimate vision here is of a hard world in which civilization is the aberration, and the things we fear are always waiting for an excuse to make life normal again.
    • 83 Metascore
    • 100 Keith Phipps
    Burton brings his signature visual style, and a pair of stock players for his stars, into this film adaptation, but he wisely follows Sondheim's lead, letting the music and spirit of the original piece show the way.
    • 82 Metascore
    • 100 Keith Phipps
    The film's capes and cowls suggest one genre, but it's a metropolis-sized tragedy at heart.
    • 82 Metascore
    • 100 Keith Phipps
    Haneke’s latest is essentially an inquiry into the roots of a certain kind of evil.
    • 90 Metascore
    • 100 Keith Phipps
    Granik has no taste for noir archness, opting for a chilly, shot-on-decaying-locations naturalism that feels as lived-in as Lawrence's performance.
    • 82 Metascore
    • 100 Keith Phipps
    Though it's dominated by two people walking and talking, after a point it's as difficult to parse what's real and what's constructed in Certified Copy as it is in the home stretch of "Inception" (although "Before Sunset" and Roberto Rossellini's "Journey To Italy" provide closer models).
    • 72 Metascore
    • 100 Keith Phipps
    To create his disarmingly earnest film, Spielberg draws from the past. Its tone is humanistic and its technique classic.
    • 93 Metascore
    • 100 Keith Phipps
    It's Malick's particular genius to make viewers feel like they're seeing the world, with all its beauty and danger, for the first time. [28 Nov. 2007]
    • 91 Metascore
    • 91 Keith Phipps
    Mirren begins the film having her portrait painted, looking every inch the monarch and proud to play the part. By the end, she's let the pressure of one week, and maybe a lifetime, show in her eyes.
    • 84 Metascore
    • 91 Keith Phipps
    Almodóvar is still one of the few directors worth watching just for how he uses color on the screen. But the pleasures have always run much deeper, and now they run deeper still.
    • 80 Metascore
    • 91 Keith Phipps
    The power to provoke may not always have a smoke-to-fire relationship with greatness but with Scorsese's film, a testament of faith that leaves in the question marks, it undeniably does.
    • 83 Metascore
    • 91 Keith Phipps
    Gordon's feature directorial debut mostly stops being about video-game obsession and turns into a film about what it takes to make it in America.
    • 85 Metascore
    • 91 Keith Phipps
    The generous, sharp performances, especially Garai's, deepen the story's emotional impact, as does Wright's assured, frequently astounding direction.
    • 64 Metascore
    • 91 Keith Phipps
    It puts human faces on the victims of mass destruction, faces that might easily have been yours or mine, staring down the maw of something we don't understand.
    • 83 Metascore
    • 91 Keith Phipps
    It's a film assembled from moments out of time, destined forever to weigh down the boy at their center.
    • 64 Metascore
    • 91 Keith Phipps
    Che
    In both halves, Soderbergh emphasizes observation over ideology with an eye toward the mundane details of life on the front lines of a revolution.
    • 83 Metascore
    • 91 Keith Phipps
    In The Loop floats above its chaotic world on wave after wave of beautifully profane dialogue.
    • 76 Metascore
    • 91 Keith Phipps
    Broken Embraces welds Douglas Sirk melodrama to the most gracefully unsettling elements of Alfred Hitchcock, wrapping both in the stylish, hushed elegance that’s become Almodóvar’s trademark since his mid-’90s reinvention.
    • 86 Metascore
    • 91 Keith Phipps
    Cholodenko's casually observant style perfectly matches the cast's thoughtful work, though the film ultimately proves more successful at creating messy situations than trying to resolve them.
    • 95 Metascore
    • 91 Keith Phipps
    Zuckerberg's story ends up feeling bigger than his own life.
    • 79 Metascore
    • 91 Keith Phipps
    A florid, often lurid, completely enthralling film held in place by a disarming Portman, who rarely leaves the frame.
    • 76 Metascore
    • 91 Keith Phipps
    Rabbit Hole is a tremendously sad movie, but it's also the furthest thing from a miserablist wallow.
    • 80 Metascore
    • 91 Keith Phipps
    The Coens direct True Grit with a light touch, but like Portis' stark, funny novel, their adventure tale shaves off none of the rough edges.
    • 65 Metascore
    • 91 Keith Phipps
    Considine directs with the confidence of a veteran, giving his actors room to work while letting an ominous, overcast mood hang over almost every scene.
    • 85 Metascore
    • 91 Keith Phipps
    After establishing an atmosphere of nearly unbearable dread, Alfredson keeps thickening and chilling it.
    • 73 Metascore
    • 91 Keith Phipps
    As Cruise clings to the side of the building using malfunctioning equipment, and a sandstorm looms in the distance, the question shifts from whether Bird can direct an action film to whether there's anyone out there who can top him.
    • 79 Metascore
    • 91 Keith Phipps
    As played by Ralph Fiennes in his own cinematic adaptation of the play, Coriolanus' military genius makes him a figure of awe, but it's his near-absence of empathy that makes him terrifying.
    • 72 Metascore
    • 91 Keith Phipps
    It's an exercise in metafiction that, while providing grisly fun, never distances viewers. And it's entertaining, while asking the same question of viewers and characters alike: Why come to a place you knew all along was going to be so dark and dangerous?
    • 69 Metascore
    • 91 Keith Phipps
    Tasked with meeting the many requirements necessary for any Avengers movie to work, Whedon checks off all the boxes, then sets about creating new expectations for what a big superhero movie ought to be.
    • 70 Metascore
    • 91 Keith Phipps
    It's an intense, uncompromising take that restores some of the shock that made Wuthering Heights so notable when it first appeared.
    • 76 Metascore
    • 91 Keith Phipps
    Directing his first live-action film since 2000's "Cast Away," Robert Zemeckis paces it brilliantly, slowly ramping up the energy from hungover lethargy to coke-fueled confidence, while creating undercurrents of dread as Washington hits his stride.
    • 81 Metascore
    • 91 Keith Phipps
    Skyfall doesn't forget it has to be an exciting spy film above all, but from its first scene, it ratchets up the drama in ways that have little to do with action.
    • 73 Metascore
    • 90 Keith Phipps
    Beyond giving a human face to Uganda's crises, Kiarostami attempts to capture the actual place, a swirl of contradictions as vibrant and beautiful as it is troubled.
    • 76 Metascore
    • 90 Keith Phipps
    Stillman's arch, clever dialogue is as strong as ever, and he conveys in every frame a genuine affection for his characters, however insipid their actions may be at times. These gifts make it easy to forgive Stillman's tendency to let his story meander, especially in Disco's second half.
    • 77 Metascore
    • 90 Keith Phipps
    Uncompromising in her art, her teaching, and her professional relations, Boyd makes for a classic tough old bird of a character.
    • 73 Metascore
    • 90 Keith Phipps
    In the end, it's that reserve that makes it work. Keeping his distance, the director lets viewers see in full the moments in which grief turns the world into a narrow, never-ending tunnel.
    • 77 Metascore
    • 90 Keith Phipps
    Though it occasionally wears its metaphors on its sleeve, Ulee's Gold should, if there's any justice, find the same thoughtful-drama-hungry audience that made "Sling Blade" a hit.
    • 76 Metascore
    • 90 Keith Phipps
    Smart in a rare way that matters greatly to good contemporary comedy: Like last year's "Flirting With Disaster," its script and direction underplay absurd situations, letting its characters amuse without showing the strains of forced wackiness.
    • 76 Metascore
    • 90 Keith Phipps
    What Von Trier arrives at is a complex, contemporary, and deeply moving exploration of faith.
    • 78 Metascore
    • 90 Keith Phipps
    Mann takes all the instincts he learned as a Miami Vice producer and trims them of their excesses, and the result is an unsettling thriller whose detached style perfectly complements its psychological intensity.
    • 72 Metascore
    • 90 Keith Phipps
    Neither condemning nor forgiving, the film is a model of documentary evenhandedness, even though James makes no claims of objectivity.
    • 91 Metascore
    • 90 Keith Phipps
    There's not a weak performance in Secrets And Lies, a fact made more notable by the seeming ease with which the cast performs as an ensemble.
    • 67 Metascore
    • 90 Keith Phipps
    A Trojan horse of a teen comedy that balanced lowbrow gags with subtle humor, genuine insight—Crowe spent a year undercover as a high-school student—and pathos.
    • 81 Metascore
    • 90 Keith Phipps
    Thoroughly realized characters and relationships and Solondz's masterful ability to switch the tone from comic to tragic within the same scene help make Happiness a better film than it might have been otherwise. Much better, in fact.
    • 86 Metascore
    • 90 Keith Phipps
    Ten
    Nobody handles unvarnished interactions quite the way Kiarostami does, and for much of Ten, it's a kind of austere thrill to watch him focus so intently on one aspect of his craft.
    • 67 Metascore
    • 90 Keith Phipps
    Lee at his best, a virtuoso piece of filmmaking that's stylish, substantial, and rich in detail.
    • 86 Metascore
    • 90 Keith Phipps
    The marvelous new Talk To Her has elements that wouldn't have seemed out of place in an Almodóvar film of 20 years ago
    • 65 Metascore
    • 90 Keith Phipps
    An old-house thriller retrofitted for the 21st century without any touch of unneeded flash, Panic Room is scary enough to do for downtown living what Jaws did for beaches.
    • 65 Metascore
    • 90 Keith Phipps
    Finely crafted, tense, scary thriller from start to finish.
    • 67 Metascore
    • 90 Keith Phipps
    The film at its simplest serves as a cautionary tale, but it also functions as a meditation on how little it takes to redirect a life by choice or by chance.
    • 73 Metascore
    • 90 Keith Phipps
    The Wachowskis do it so playfully well, keeping The Matrix's potentially confusing plot intelligible, intelligent, and suspenseful, that it doesn't matter.
    • 84 Metascore
    • 90 Keith Phipps
    Haynes makes it possible to forget all the layers at work and simply be swept up in the story's emotions. As in Sirk's films, these characters live and breathe within the film's exaggerated reality, thanks to rich performances by Haysbert, Quaid, and especially Moore.
    • 63 Metascore
    • 90 Keith Phipps
    Verbinski knows when to break out the stunning action sequences and when to let his characters dominate the film, and he handles both modes expertly.
    • 84 Metascore
    • 90 Keith Phipps
    In his best film since "Unforgiven," Eastwood ultimately lets observations on character, community, and the tidal patterns of tragedy shoulder a burden an ordinary murder mystery never could.
    • 64 Metascore
    • 90 Keith Phipps
    The most exciting thing about Jackie Brown is the director's seamless transition to a less flashy, revealing style; it's well-suited to the more character-oriented focus of the film... an assured, accomplished, and very good film.
    • 83 Metascore
    • 90 Keith Phipps
    Despite years of imitators, sequels (some great, some not so), and edited-for-television broadcasts, Alien has lost none of its power, and the big screen only intensifies its impact.
    • 94 Metascore
    • 90 Keith Phipps
    All in all, it's a fitting conclusion to the series, and yet there are disappointments built in. For one, Jackson has opted not to film Tolkien's downbeat "Scouring Of The Shire" epilogue.
    • 80 Metascore
    • 90 Keith Phipps
    An unpredictable, often funny, always winning film, Love And Death On Long Island is filled with low-key humor and sharp observations about the state of art at the close of the millennium.
    • 90 Metascore
    • 90 Keith Phipps
    Finds the right balance between reverence and wit.
    • 65 Metascore
    • 90 Keith Phipps
    There are moments when Velvet Goldmine threatens to collapse under the weight of writer/director Todd Haynes' (Poison, Safe) ambition. But, sometimes amazingly, it doesn't, becoming in the process one of the year's freshest, most exciting films.
    • 75 Metascore
    • 90 Keith Phipps
    Through quietly fiery performances by Day-Lewis and Watson, as well as novel-like depth and complexity, The Boxer not only avoids these pitfalls but emerges as a thoroughly engrossing movie.
    • 64 Metascore
    • 90 Keith Phipps
    As an imaginative visual experience, there's nothing like it. Today, at least.
    • 72 Metascore
    • 90 Keith Phipps
    A harsh (though slightly toned down from Moody's book), deeply moving, emotionally rich and intelligent film about the difficulty of rebelling against social restrictions--and the inescapable consequences of such attempts when they do succeed--The Ice Storm should not be missed.
    • 85 Metascore
    • 90 Keith Phipps
    Works both as a great romance and a great, unconventional crime thriller. But step back from such distinctions, and it just looks like a great movie.
    • 61 Metascore
    • 90 Keith Phipps
    For his first feature, Canadian director Vincenzo Natali has, like the setting of his film, created a complex piece of work around an essentially simple foundation.
    • 71 Metascore
    • 90 Keith Phipps
    Deliberately paced at the outset, the film slowly establishes a sense of hatred that makes the violent explosion of the film's second half as plausible and inevitable as the laws of physics.
    • 81 Metascore
    • 90 Keith Phipps
    After a start heavy on exposition, the film strings one action setpiece after another, each realized with the breathless excitement of an adventure pulp cover. It's as if Jackson set out to bring to life every fantasy of the last moment before earth gave way to space as the site of the final frontier.
    • 68 Metascore
    • 90 Keith Phipps
    Nonetheless, Marvin's Room is not only sharply written and well-acted, but it's also the rare sort of film that takes an honest and uncompromising look at death and dying.
    • 89 Metascore
    • 90 Keith Phipps
    An important act of historical preservation, a focused and effective film that brings back a dark, important moment in history with startling clarity.
    • 74 Metascore
    • 90 Keith Phipps
    While virtually every shot looks like a work of art, much of the beauty of Ain’t Them Bodies Saints comes from Lowery’s refusal to choose sides.
    • 96 Metascore
    • 90 Keith Phipps
    The film uses the cutting edge of technology to take viewers to the far reaches of the human experience, but also to create a sense of empathy, of investing in the life of another person. It’s a remarkably complex film, but an admirably simple one, too.
    • 83 Metascore
    • 90 Keith Phipps
    Captain Phillips could have stopped at simply depicting what happened; it’s the steps it takes to examining why it happened that make it extraordinary.
    • 87 Metascore
    • 90 Keith Phipps
    It’s a classic tale of survival that draws on how movies, in the right hands, can make viewers see the world through others’ eyes, and to feel what keeps them grasping as it threatens to slip away.
    • 92 Metascore
    • 90 Keith Phipps
    Where Barton Fink sometimes resembled a horror movie, Inside Llewyn Davis plays like an elegy. Its conclusions are more regretful than angry, and while the conflict between art and commerce is no less central, there’s much more emphasis on that conflict’s personal toll.
    • 66 Metascore
    • 83 Keith Phipps
    Yes, it's fundamentally business as usual, but it's the best kind of business as usual, and it finds everyone working in top form. Abrams imports and enlarges "Alias'" smooth, stylish, yet remarkably visceral approach to action, and the actors pack a satisfying amount of drama into the moments between action scenes.
    • 73 Metascore
    • 83 Keith Phipps
    Zhang Yimou is a master of intimate character pieces.
    • 64 Metascore
    • 83 Keith Phipps
    Developed by Mitchell and the actors, the characters don't always seem consistent from moment to moment, but a sharp sense of humor and comfortable performances by a committed and--it must be said--remarkably limber cast help smooth over the rough edges.
    • 51 Metascore
    • 83 Keith Phipps
    Viewers not attuned to his (Aronofsky's) heartfelt, bombastic Richard Wagner-by-way-of-"2001: A Space Odyssey" lyricism might be better off looking elsewhere. But they'll never see anything else quite like it.
    • 77 Metascore
    • 83 Keith Phipps
    Like the best of its forebears, Grindhouse contains thrills to keep viewers in their seats, plus moments to think about on the ride home, which will probably seem unusually fraught with peril.
    • 61 Metascore
    • 83 Keith Phipps
    The final effect is less haunting than was probably intended, but Butterfly Kiss is worth a look.
    • 62 Metascore
    • 83 Keith Phipps
    The pleasure here, as before, comes from watching skilled professionals team up for a job well done.
    • 73 Metascore
    • 83 Keith Phipps
    An ingenious, maddening film inspired by the "many lives of Bob Dylan."
    • 52 Metascore
    • 83 Keith Phipps
    The visual wit, game performances, and overflowing humanity have more than made up for the shortcomings by the time the film finds a final moment that's simultaneously abrupt and magical.
    • 81 Metascore
    • 83 Keith Phipps
    It’s a studied movie that gives itself over to bursts of intensity, and between them sometimes threatens to become as spellbound by its subjects as they become with each other.
    • 66 Metascore
    • 83 Keith Phipps
    Played with black humor that never gets in the way of the horror, Natali’s film cleverly exploits Dren’s uncanny semi-humanity.
    • 77 Metascore
    • 83 Keith Phipps
    Red Riding’s depiction of the avarice and corruption possible when regions become kingdoms unto themselves feels simultaneously cynical and true.
    • 74 Metascore
    • 83 Keith Phipps
    It’s a great-looking film--and an impressive use of 3D--but ultimately, the story makes it memorable.
    • 83 Metascore
    • 83 Keith Phipps
    Gripping action and vulnerable heroes writ large. It boldly goes somewhere different and makes it hard to leave the film not hoping for a return voyage soon.
    • 74 Metascore
    • 83 Keith Phipps
    The artist's arresting images speak for themselves, even though now only the bystanders are left to tell his story.

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