For 1,063 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 Kung Pow: Enter the Fist
Score distribution:
1,063 movie reviews
    • 63 Metascore
    • 70 Keith Phipps
    On its own terms, Dear Frankie works much better than it really has any right to. Auerbach tells a small, contrived story, but gives it the weight of life.
    • 67 Metascore
    • 70 Keith Phipps
    Here's a strangely flawed and strangely satisfying movie.
    • 54 Metascore
    • 70 Keith Phipps
    It looks like no other movie, Marvel or otherwise, and it’s populated by characters compelling enough to support a more complex, richer story than this one.
    • 55 Metascore
    • 70 Keith Phipps
    Though indisputably a thriller, Charlie abandons itself to little cinematic rhapsodies, self-reflexive asides, and montages of Paris locations cued to a soundtrack of cool French pop, all of which often seems more vital than the main order of business.
    • 69 Metascore
    • 70 Keith Phipps
    His Secret Life's languid pace and general aimlessness keep getting in the way.
    • 61 Metascore
    • 70 Keith Phipps
    While fleeting moments from Pearce and Luis Guzmán (as Caviezel's loyal servant) suggest the film might have been even more fun had they been allowed to loosen up a bit, the finished product still offers little cause for complaint.
    • 64 Metascore
    • 70 Keith Phipps
    Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.
    • 69 Metascore
    • 70 Keith Phipps
    Adapting a novel by Eric-Emmanuel Schmitt, François Dupeyron uses handheld cameras and some jarring edits, but, prostitutes and all, this is storybook material: heartfelt, pleasant, cuddly, and a little too insubstantial to stick in the mind for long.
    • 45 Metascore
    • 70 Keith Phipps
    The fact that Full Frontal comes together so well removes any doubt that anyone other than a master filmmaker is pulling the strings.
    • 63 Metascore
    • 70 Keith Phipps
    It's a film whose virtues--particularly its rare, intelligent portrayal of the relationship between two generations of women--outweigh its faults.
    • 62 Metascore
    • 70 Keith Phipps
    The Dreamers is a universal story, one that captures the thrill of discovering culture, sex, and politics, and the painful twinge of learning that those worlds aren't enough.
    • 62 Metascore
    • 70 Keith Phipps
    Huo never quite finds the filmic vocabulary to tilt the film toward greatness-and the mawkish synth score does little to help-but Postmen In The Mountains ultimately succeeds.
    • 69 Metascore
    • 70 Keith Phipps
    It's a familiar story, but Mills and Pucci treat it as if it were the first time anyone had thought to tell it.
    • 63 Metascore
    • 70 Keith Phipps
    Massoud plays Saladin magnetically, and his arrival only illustrates how many opportunities Kingdom misses. Another, better movie would have made him the focus.
    • 69 Metascore
    • 70 Keith Phipps
    A dark-humored film about devastation, which makes Vodka Lemon's final rush into comedy in the truest sense all the more refreshing. Even in the wasteland, there might be humor other than the gallows kind.
    • 73 Metascore
    • 70 Keith Phipps
    Mistaken For Strangers, which covers Tom’s time with the band and his subsequent attempts to piece together a movie about that time, is a sweet, funny, and sad film, but also an exceedingly odd one.
    • 67 Metascore
    • 70 Keith Phipps
    Welcome To Me never develops much momentum, doesn’t always know what to do with supporting players like Leigh, and builds toward a finale that plays as a bit too neat. Yet even this doesn’t betray the character’s cracked integrity.
    • 58 Metascore
    • 70 Keith Phipps
    Mike Nawrocki and Phil Vischer, who co-write, co-direct, and supply much of the voice talent, soft-pedal the proselytizing and explicitly Christian elements in favor of gags and gentle lessons, keeping the pace fast and the scenery colorful.
    • 55 Metascore
    • 70 Keith Phipps
    Kormákur lets his stars balance the buddy-movie levity with just enough dramatic weight to keep it grounded, and his directing style seems like a conscious corrective to the disorienting cutting and obvious CGI effects that have come to dominate Hollywood action films.
    • 66 Metascore
    • 70 Keith Phipps
    Though essentially a straight-faced horror film, You’re Next also taps into a rich vein of black comedy.
    • 72 Metascore
    • 70 Keith Phipps
    In one of the film's most persuasive bits, Farley Granger talks about chucking a lucrative film career in order to tread the boards in New York. Maybe it's that kind of magnetic draw that makes an age golden.
    • 72 Metascore
    • 70 Keith Phipps
    Black's sadistic streak remains as uncomfortable as it ever was, and his direction is very much in the house style of producer Joel Silver. But both elements perfectly suit the material, which sneaks in a lot of sly stuff beneath the slick surface.
    • 61 Metascore
    • 70 Keith Phipps
    A low-key charmer that balances half a dozen winning performances, Welcome To Collinwood's momentum occasionally stalls, and it doesn't always produce laughs.
    • 70 Metascore
    • 70 Keith Phipps
    When Friday Night Lights gets to the big games, the time it's spent creates an atmosphere thick with tension, one akin to the real-world experience of watching a favorite team play for its life.
    • 65 Metascore
    • 70 Keith Phipps
    As disappointing-but-worthwhile films go, you could do a lot worse.
    • 77 Metascore
    • 70 Keith Phipps
    At times, Bani Etemad succeeds only too well at capturing the confusing rush of Adineh's family life--the film presents more subplots than it can follow thoroughly, until its final act snaps all that's come before into sharp focus.
    • 64 Metascore
    • 70 Keith Phipps
    Rendering in high drama the story of Moses one moment and then underscoring that drama with songs filled with banal "you-can-make-it-if-you-really-try" cliches moves from the sublime to the ridiculous so quickly, you could get the bends.
    • 52 Metascore
    • 70 Keith Phipps
    Writer-director Tim McCanlies works in broad, kid-friendly strokes, and he's not afraid to lay on the sentiment, but his cast makes sure it's well-earned.
    • 57 Metascore
    • 70 Keith Phipps
    As pleasant stimulation for the eye and ear, it's two hours of sumptuousness, but anyone looking for more won't find it here.
    • 59 Metascore
    • 70 Keith Phipps
    Hoffman and Sarandon work well together, and Gyllenhaal, who's carved out a niche for himself as the new face of internalized conflict, fits nicely into a role Hoffman would have made a meal of 30 years ago.
    • 64 Metascore
    • 70 Keith Phipps
    Or
    For long stretches, Or is a dialogue-heavy kitchen-sink drama, but its naturalistic style and unselfconscious performances give it an intensity that only builds as it progresses.
    • 74 Metascore
    • 70 Keith Phipps
    While McKellen's sharp performance provides the main attraction, the film wouldn't work without both Fraser, who brings something extra to a character who could easily have been a mere lunk, and director Bill Condon's careful integration of larger themes.
    • 73 Metascore
    • 70 Keith Phipps
    Though High Art has more than a few awkward touches--all the male characters take up less than one dimension, for example--it's otherwise a nicely underplayed, memorable, beautifully filmed movie.
    • 66 Metascore
    • 70 Keith Phipps
    As a morality play, it's a one-sided contest, because the question of whether power corrupts is never a question at all. As a queasily thrilling tour of a dirty little corner of the world, however, Trapero's film offers a memorable ride.
    • 68 Metascore
    • 70 Keith Phipps
    Alan J. Pakula’s 1982 adaptation of William Styron’s 1979 novel Sophie’s Choice is one of those films whose great qualities put its lesser elements in sharp relief.
    • 64 Metascore
    • 70 Keith Phipps
    In just about every way, Insurrection seems as if everyone involved is still stuck in the weekly grind of turning out the series, but the results don't disappoint too terribly.
    • 60 Metascore
    • 70 Keith Phipps
    The film works by putting the accelerator to the floor and never looking in the rear-view mirror.
    • 67 Metascore
    • 70 Keith Phipps
    Bridges turns in another remarkable performance, and he's well-matched by Foster.
    • 59 Metascore
    • 70 Keith Phipps
    Behind the camera, Lee shows a steady hand and saves his best tricks for the big finale, which generates a lot of excitement out of the collision of disco music and some truly impressive skating.
    • 58 Metascore
    • 70 Keith Phipps
    Starr and Shihabi, a charming newcomer, play off each other beautifully, and even when the film becomes a little too heavy-handed...their relationship keeps it grounded.
    • 62 Metascore
    • 70 Keith Phipps
    As generous as the film is to its characters, it also keeps finding ways to criticize their myopia.
    • 90 Metascore
    • 70 Keith Phipps
    The film is unfortunately about little more than its potentially mind-boggling plot and structure.
    • 51 Metascore
    • 70 Keith Phipps
    Despite a shaky start and the presence of questionable elements throughout, by the time it arrives at its finale -- which copies Return Of The Jedi's triple-climax structure -- The Phantom Menace has won its place alongside the original Star Wars trilogy.
    • 69 Metascore
    • 70 Keith Phipps
    Sauret's approach isn't the most artful, but it doesn't have to be. Hearing his subjects speak for themselves is good enough.
    • 60 Metascore
    • 70 Keith Phipps
    It's a smart, exciting, involving film that's true to its source, which is all it really needs to be.
    • 91 Metascore
    • 70 Keith Phipps
    Though Moolaadé doesn't shy away from the task of educating its viewers about the brutality of "purification," it works equally well as a tribute to righteous defiance wherever it surfaces.
    • 62 Metascore
    • 70 Keith Phipps
    Edwards’ film doesn’t care much about metaphorical resonance, and cares even less about its human characters, many of which get forgotten for long stretches of the film. But Godzilla has a way with a disaster setpiece, and it cares a lot about providing awesome monster-on-monster action on a mammoth scale.
    • 68 Metascore
    • 70 Keith Phipps
    The ridiculously entertaining Shaolin Soccer pulls out all the stops to make sure viewers stay happy.
    • 71 Metascore
    • 70 Keith Phipps
    The mostly wordless film simply presents Ground Zero, the dust-covered surrounding areas, and the city's immediate rescue efforts. As a document, it's invaluable, and as a viewing experience, it's somewhat shocking.
    • 55 Metascore
    • 70 Keith Phipps
    In the latest of a long string of memorable performances, Hanks balances wide-eyed confusion with innate shrewdness, finding a character who's both unfailingly sweet and nobody's fool.
    • 57 Metascore
    • 70 Keith Phipps
    The Newton Boys is Linklater's most conventional film and, despite its numerous flaws, it's not bad.
    • 73 Metascore
    • 70 Keith Phipps
    A lot goes on, and it doesn't always make sense. But the cast embodies Rendell's ability to incorporate shrewd observations on human behavior into the framework of a crime story, and Miller has a great eye for the places on the Paris outskirts where the lives of haves and have-nots intersect.
    • 78 Metascore
    • 70 Keith Phipps
    Frears has directed a surprisingly sturdy hybrid of thriller and social melodrama, even if the thrills turn ludicrous and the social critique grows a little pat.
    • 55 Metascore
    • 70 Keith Phipps
    It’s light and loose in ways that Almodóvar hasn’t let himself be in decades. Unsurprisingly, it’s also a lot of fun, a relentlessly entertaining lark that, like its setting, soars into the clouds, then discovers it doesn’t really have a way to get down.
    • 72 Metascore
    • 70 Keith Phipps
    Pretty much impossible not to like a little, but it's also hard to like a lot. There's a fantastic film to be made from this material, but now, the burden of making it falls to a sequel.
    • 66 Metascore
    • 70 Keith Phipps
    It may boil down to little more than a minor variation on Four Weddings' formula, but it's an interesting and entertaining one.
    • 69 Metascore
    • 70 Keith Phipps
    Brown's respectful film offers the usual music-doc mix of archival footage, song clips, and talking heads, but with a figure as enigmatic and underreported as Van Zandt, the safe course works well.
    • 70 Metascore
    • 70 Keith Phipps
    Another actor might not have been able to carry the film, given such a creepily monomaniacal character, but Hoffman lets the humanity soak through, registering split seconds of panic when he's on the verge of getting caught, then just as quickly creating and working a new plan.
    • 64 Metascore
    • 70 Keith Phipps
    Essentially, the film stays at the party too long. But for a good stretch, its combination of twirling excitement and dry absurdity captures the spirit of characters too intoxicated to realize they're dancing over a chasm.
    • 62 Metascore
    • 70 Keith Phipps
    While the Veronica Mars film feels a bit small and closed-off by big-screen standards, it will no doubt be big and welcoming enough to those who love the series.
    • 71 Metascore
    • 70 Keith Phipps
    The director’s observant approach to the material helps pave over the frustrations.
    • 54 Metascore
    • 70 Keith Phipps
    Twin Dragons is still a Chan film, albeit not a great one. As fans have figured out by now, that goes a long way.
    • 76 Metascore
    • 70 Keith Phipps
    What makes it effective isn’t the facts of the case, so much as the way Philomena lets viewers spend time with its characters and get to know exactly who’s getting hurt.
    • 71 Metascore
    • 70 Keith Phipps
    Though sloppily structured and sometimes dangerously flimsy (not to mention truncated at a mere 78 minutes), Tadpole has an unforced charm that compensates for the absence of more traditional cinematic virtues.
    • 71 Metascore
    • 70 Keith Phipps
    Without coming out and saying it, The Nomi Song creates the sense that its subject might simply have been a few hundred years ahead of his time.
    • 65 Metascore
    • 70 Keith Phipps
    Never quite finds the rhythm of a great film, and it scores no points for subtlety by including a subplot about a horse breaking free of its master, but Shahriar displays a real gift for conveying Taghani's plight in all its grimness.
    • 74 Metascore
    • 70 Keith Phipps
    As for the unfortunates who aren't already in love with The Ramones, End Of The Century should give them a better understanding of what they've been missing, and leave them wondering why they've missed out on it for so long.
    • 75 Metascore
    • 70 Keith Phipps
    It’s the choice to put the voices of the main players front and center that saves Lambert & Stamp from taking the rise-and-fall shape so familiar from Behind The Music and similar projects.
    • 63 Metascore
    • 70 Keith Phipps
    There's something appealing about an unapologetic love story set in an office that's only a few clicks off from looking like a fetish dungeon, and Spader and Gyllenhaal make sure that the romance, kinks and all, carries the day.
    • 85 Metascore
    • 70 Keith Phipps
    Julie Bertucelli spends part of the film letting her characters worry whether they've made the right choice, but mostly contents herself with capturing a place where hard choices have become unavoidable. Though her decision to pace the film to Gorintin's old-lady rhythms sometimes kills the dramatic momentum, in the end it's time well spent.
    • 62 Metascore
    • 70 Keith Phipps
    Hush! takes an excessive, saga-like running time to reach its conclusion, but Hashiguchi frequently makes the trudge worthwhile, particularly when he finds the energy to match his three leads' charming performances.
    • 72 Metascore
    • 70 Keith Phipps
    It's a hard-won comfort, found here over a bleak stretch of days, but All Or Nothing makes it look like the best life has to offer.
    • 71 Metascore
    • 70 Keith Phipps
    At its best, The Broken Circle Breakdown has the feel of life as it’s remembered—moments out of time tethered together by the feelings of those living them.
    • 79 Metascore
    • 70 Keith Phipps
    Though there's a formula at the film's core, Whale Rider still has the good taste to make that formula go down easy.
    • 72 Metascore
    • 70 Keith Phipps
    The story is well-told, but so familiar that it renders the surrounding film a bright, shiny, dispensible bauble, an amusing diversion but not much more.
    • 62 Metascore
    • 70 Keith Phipps
    Lord Of War charges bravely and relentlessly into volatile territory, and it's hard to leave unscarred by the experience.
    • 65 Metascore
    • 70 Keith Phipps
    The film's generous spirit, disarming mixture of beauty and brutality, and gentle, insistent sweep make it easy to surrender to it anyway.
    • 56 Metascore
    • 70 Keith Phipps
    Nature lacks a little of Malkovich's freshness, but that's just about all it lacks.
    • 63 Metascore
    • 70 Keith Phipps
    Occasionally resembling an episode of Seinfeld taken to the big screen, waydowntown shares that show's ability to mine mundane details for humor, and its Tomorrowland-gone-awry setting provides plenty of raw material.
    • 52 Metascore
    • 70 Keith Phipps
    Though initially off-putting, Chick's distanced direction pays off as XX/XY goes along.
    • 86 Metascore
    • 70 Keith Phipps
    By turning her attention to an underreported chapter in recent history, Kennedy has found a trove rich with unreal imagery and stories of heroism in the face of defeat.
    • 80 Metascore
    • 70 Keith Phipps
    An earnest attempt to convey the essential truth of Wilson’s extraordinary career and difficult life animates both halves of the film, and both performances.
    • 70 Metascore
    • 70 Keith Phipps
    Stearns directs with a slow-burning intensity that becomes more unsettling the deeper Ansel goes into his task, and the more it becomes apparent he doesn’t have an easy way out.
    • 55 Metascore
    • 70 Keith Phipps
    An extraordinary story uniquely suited to Herzog's abilities, it eventually becomes easy to accept Ahola as a nearly mute witness to the obsessives around him, most immediately Tim Roth in a striking performance as Ahola's employer.
    • 76 Metascore
    • 70 Keith Phipps
    Though Machuca ultimately doesn't shy away from taking sides, it wisely keeps the focus on the human element. The politics take place in the background until they demand the foreground.
    • 67 Metascore
    • 70 Keith Phipps
    Shooting on 35mm, Jody Lee Lipes makes the harshness look beautiful and unforgiving, and in a film filled with strong performances, Morton’s work stands out.
    • 71 Metascore
    • 70 Keith Phipps
    Edge Of Tomorrow’s finale can’t live up to what’s come before, though that’s mostly because what comes before is so rich and unusual, particularly in the middle of a summer blockbuster season that doesn’t always value richness or novelty.
    • 58 Metascore
    • 70 Keith Phipps
    The atmosphere makes a deeper impression than the drama, which might represent a failing on Nelson's part, but could it be avoided? His film portrays the pinholes of light in a place of otherwise unrelenting darkness.
    • 75 Metascore
    • 70 Keith Phipps
    Has a message, which it effectively conveys by succeeding first as an affecting film. Winterbottom's actors give a human face to current events as they proceed along their grim road-movie toward a destination that may not even want them. They may be statistics, too, but their stories stick in the mind.
    • 76 Metascore
    • 70 Keith Phipps
    While Driver and Seyfried are both quite good, there’s nothing specific enough about their characters to avoid making the film feel like a blanket condemnation of a whole generation and their new ways of doing things.
    • 89 Metascore
    • 70 Keith Phipps
    Choreographed to the last beat, the action scenes have a depth that the film's thinly sketched characters never quite develop.
    • 62 Metascore
    • 70 Keith Phipps
    Moss offers few startling revelations, but gently gets at the truth of his subjects' lives by playing the past against the present.
    • 62 Metascore
    • 70 Keith Phipps
    There’s a sense that the band has left its mark on Sheffield as surely as the city left its mark on the band. This concert might be Pulp’s last hometown appearance, but it hardly seems like goodbye.
    • 63 Metascore
    • 70 Keith Phipps
    Trashy enough to envelop its sex scenes in aerobicized glamour (a Lyne trademark), so the fact that it takes itself so seriously almost counts as a daring move.
    • 68 Metascore
    • 70 Keith Phipps
    It’s an unwieldy, sometimes overreaching effort, but the laudable ambition makes it easy to forgive some rough patches.
    • 83 Metascore
    • 70 Keith Phipps
    While 20,000 Days On Earth never finds the real Nick Cave, it’s because it knows better than to try to look for it.
    • 64 Metascore
    • 70 Keith Phipps
    It's tacky and beautiful, sometimes both at the same time. Occasionally flatfooted even as it sparkles, the film suffers when Hogan lets the scenery do the directing for him, but he's chosen a cast capable of shouldering the film's weight.

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