For 1,006 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 2.3 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: 0 200 Cigarettes
Score distribution:
1,006 movie reviews
    • 56 Metascore
    • 67 Keith Phipps
    Too much of Leatherheads feels like studied motions, and its charms never plaster over a story that takes forever to get going, and doesn't go too far once it does.
    • 61 Metascore
    • 67 Keith Phipps
    The Hulk himself looks more steroidal than superheroic, as if the expressive beast from the first film had been replaced by a WWE star.
    • 64 Metascore
    • 67 Keith Phipps
    Wanted is a queasily unapologetic power fantasy about becoming a better person through violence.
    • 64 Metascore
    • 67 Keith Phipps
    It's the journey that matters, however, and sometimes the film doesn't seem to know where it's going.
    • 71 Metascore
    • 67 Keith Phipps
    After a compelling opening act and some shocking late-film developments, the film feels disengaged from the action at hand and the issues raised.
    • 56 Metascore
    • 67 Keith Phipps
    Ramona And Beezus has the undeniably nice, pleasantly uninspired feel of film designed to kill time with the kids on a rainy weekend.
    • 67 Metascore
    • 67 Keith Phipps
    It's a postcard-lovely movie that, in spite of its best intentions, ends up feeling a little touristy.
    • 72 Metascore
    • 67 Keith Phipps
    The film is at its best when it isn't afraid to be earnest.
    • 67 Metascore
    • 67 Keith Phipps
    It's a tender, but sometimes untended, portrait of the artist as a young man-and occasionally as a young asshole-that's handsome, dutiful, and finally, a little dull.
    • 63 Metascore
    • 67 Keith Phipps
    Offers a concise summary of Burroughs' life and works. Maybe too concise. At a mere 88 minutes, it feels a bit glancing. But as an introduction or refresher course, it gets the job done.
    • 43 Metascore
    • 67 Keith Phipps
    The best thing about Taymor's Tempest is also the worst: It's not stunning but it is sturdy, a handsome-enough showcase of a film that never really comes to life. It plays like a challenge politely declined.
    • 58 Metascore
    • 67 Keith Phipps
    The plot is only semi-comprehensible, but the nearly non-stop musical numbers-brilliant conflations of glam-rock and showtunes-and transgressive sexual energy keep things moving.
    • 50 Metascore
    • 67 Keith Phipps
    No Strings Attached isn't a BAD piece of formulaic product.
    • 45 Metascore
    • 67 Keith Phipps
    Though the film never balances the grown-up stuff with the gross-out gags, it suggests the Farrellys might be able to do mature after all.
    • 75 Metascore
    • 67 Keith Phipps
    Henson's characters maintained an essential innocence while sending up the very idea of entertainment. They put on a show with quotation marks around it, but the irony never felt cynical. When it isn't getting bogged down in unearned sentiment, The Muppets gets that right.
    • 76 Metascore
    • 67 Keith Phipps
    Spielrein's name is less familiar than the others, but the film suggests she deserves to be more than a footnote in the history of psychoanalysis.
    • 81 Metascore
    • 67 Keith Phipps
    An unassuming wisp of a movie, Midnight In Paris finds Woody Allen penning a love letter to the City Of Lights, albeit one whose sentiments could easily fit on a postcard.
    • 49 Metascore
    • 67 Keith Phipps
    Without "The Wire" and its like as a point of comparison, Texas Killing Fields might seem the natural heir to a gritty '70s cop drama. But with great contemporary TV around, it seems strangely incomplete.
    • 62 Metascore
    • 67 Keith Phipps
    Mostly The Best Exotic Marigold Hotel stays focused on the cutesy, low-stakes personal journeys of its English characters, characters it would be hard to care about if they weren't brought to life by actors who give the film substance and gravity it doesn't otherwise know how to earn.
    • 65 Metascore
    • 67 Keith Phipps
    How could someone so frail and terrified at the mere thought of acting in front of the camera become the biggest movie star in the world? And how could someone so unknowable become so familiar? Then the film makes the mistake of trying to answer these questions.
    • 63 Metascore
    • 67 Keith Phipps
    If only the emotions of the performances, the themes of the story, and Wright's cinematic virtuosity synced up more often. A lopsided abridgement that speeds through the plot doesn't help.
    • 69 Metascore
    • 67 Keith Phipps
    Made with affection and access but not enough structure.
    • 51 Metascore
    • 67 Keith Phipps
    You have to give She's All That points for unironically staying true to its genre in its purest form, one Kevin Williamson-like bit of dialogue aside.
    • 65 Metascore
    • 60 Keith Phipps
    When it unexpectedly shifts back into its initial thriller mode, Walk On Water loses in human drama what it gains in tidiness, revealing itself as a film that carries more weight in its light scenes than its heavy moments can sustain.
    • 44 Metascore
    • 60 Keith Phipps
    It's passably gripping and occasionally lively.
    • 61 Metascore
    • 60 Keith Phipps
    Brown probably captures enough to satisfy hardcore enthusiasts, but everyone else might end up wondering why he ignored the glory for the dust.
    • 66 Metascore
    • 60 Keith Phipps
    By the film's halfway point, the subplots have all started to head in the most obvious directions imaginable, which is too bad, since they all have real potential. Ferrera's story of spending the summer as an out-of-place ethnic element in the milk-white suburbs stays interesting the longest, in large part thanks to her performance.
    • 59 Metascore
    • 60 Keith Phipps
    Director Chris Terrio adapts Amy Fox's play with flashes of wit, moments of insight, and some fine performances. But Heights' characters move along such preordained paths and perform such familiar movie actions that they might as well sport antennae.
    • 80 Metascore
    • 60 Keith Phipps
    The drama loses shape before it really develops, but the sense of place--all wood paneling and animal knick-knacks--and the memorable performances keep it worth watching.
    • 51 Metascore
    • 60 Keith Phipps
    Mackenzie's film could almost use one or two lurid touches in place of its stately distance. Then again, a more stylized approach might have allowed less room for Richardson, whose unsparing performance makes other elements almost irrelevant.
    • 55 Metascore
    • 60 Keith Phipps
    As Ouimet, the always-terrific Shia LeBeouf is an oasis of depth in a film that otherwise can't pass up a sports-film cliché.
    • 45 Metascore
    • 60 Keith Phipps
    Only a truly great director can make a film of high artistic merit, filled with personality and memorable scenes, that's still a borderline disaster. (Think One From The Heart or 1941.) So the heartfelt and woefully miscalculated Elizabethtown may be the film that marks Cameron Crowe's arrival as a truly great director.
    • 59 Metascore
    • 60 Keith Phipps
    Though he (Jordan) directs with admirable skill, his usual touches don't drive the film--which occasionally threatens to lose its shape.
    • 38 Metascore
    • 60 Keith Phipps
    Pretty painless by kiddie movie standards.
    • 51 Metascore
    • 60 Keith Phipps
    Roberts' script and direction show sparks of wit, but the plot comes lifted from countless heist films.
    • 58 Metascore
    • 60 Keith Phipps
    After spending so much time letting the characters' deeds do the talking, the film veers into overkill, which comes as a letdown. But the actions linger longer than the words.
    • 62 Metascore
    • 60 Keith Phipps
    Though it's tough to find much fault with a film so sweet, Piglet's Big Movie never lives up to its title.
    • 62 Metascore
    • 60 Keith Phipps
    As a portrait of a man at the top of his profession starting over, it's involving throughout, and funny, too. Its range proves too narrow to support the questions it raises, but it's memorable for the point it repeats.
    • 56 Metascore
    • 60 Keith Phipps
    CQ
    It looks great -- thanks in large part to production designer Dean Tavoularis and Wes Anderson cinematographer Robert Yeoman -- but just as importantly, it looks like it's interesting. Ultimately, it's not, but that almost doesn't matter.
    • 52 Metascore
    • 60 Keith Phipps
    Never finds any forward momentum, but Vysotskaya's sweet performance and the unsubtle but effective use of the war-torn asylum as a stand-in for the former USSR keep it compelling.
    • 61 Metascore
    • 60 Keith Phipps
    Occasionally, the film invites a more dynamic touch than the careful slowness Cholodenko carries over from "High Art." But that same care gives the movie a seductive quality that would have been lost in a more hurried approach.
    • 59 Metascore
    • 60 Keith Phipps
    But while Only The Strong Survive is essential viewing for soul fans, as a documentary it never makes the needed connections among the artists, their music, and the lives they lead.
    • 48 Metascore
    • 60 Keith Phipps
    The same willingness to plunge into luridness and melodrama allows The Gatekeeper to work as a taut suspense film on its shoestring budget.
    • 79 Metascore
    • 60 Keith Phipps
    The main problem with Tarzan is its story, which, after a strong start, finds a steady groove and stays with it, offering no particular highs or lows.
    • 64 Metascore
    • 60 Keith Phipps
    Achieves a dullness that defies its pedigree and its story's potential.
    • 51 Metascore
    • 60 Keith Phipps
    Once it reaches the meat of the story, it seems to lose its confidence.
    • 72 Metascore
    • 60 Keith Phipps
    Eventually Stein's habit of dodging its own issues grows frustrating.
    • 66 Metascore
    • 60 Keith Phipps
    For a while, it's a dark, insubstantial treat.
    • 63 Metascore
    • 60 Keith Phipps
    It's clever enough, but it's mostly a contrivance to hide the fact that there's nothing interesting about the story itself.
    • 68 Metascore
    • 60 Keith Phipps
    Even if it weren't a remake, The Italian Job would still look startlingly unoriginal, but in a summer that promises plenty of sold-out showings, it could be the season's breakout pretty-okay-second-choice film.
    • 71 Metascore
    • 60 Keith Phipps
    Offers a strange mix of sentimentality and social criticism, sometimes mixing the two to awkward effect.
    • 64 Metascore
    • 60 Keith Phipps
    Though he never quite rescues the film, Bardem continually suggests the tensions bubbling under the surface that Dancer itself never penetrates.
    • 56 Metascore
    • 60 Keith Phipps
    The second Pierce Brosnan-fronted James Bond movie settles into the groove of unspectacular convention-adhering that has marked the series for the last couple of decades.
    • 58 Metascore
    • 60 Keith Phipps
    Love Liza needs more than mood on its side. A moment of recognizable human behavior would have been a fine place to start.
    • 55 Metascore
    • 60 Keith Phipps
    It's a bit more than the film can handle without leaving loose ends dangling, and though it's never preachy, Sayles' political message-sending sometimes comes across too clearly for its own good. He makes valid points, though, particularly when he lets his storytelling do the work for him.
    • 65 Metascore
    • 60 Keith Phipps
    Tying The Knot's central point remains insistently stated. It would be hard for anyone to watch it and still think of the demand for same-sex marriage as a mere passing fancy.
    • 66 Metascore
    • 60 Keith Phipps
    Unfortunately, Russell paces the film as if trying to demonstrate what eternity feels like. When the plot begs to move forward, the film keeps lingering over friendly fawns and long walks through the forest.
    • 51 Metascore
    • 60 Keith Phipps
    Short and shapeless but nonetheless welcome documentary.
    • 42 Metascore
    • 60 Keith Phipps
    When the general pleasantness of the atmosphere and the cleverness of the screenplay don't carry the movie, Wilson does -- at least until a hurried, confounding finale that reveals its casualness as sloppiness.
    • 42 Metascore
    • 60 Keith Phipps
    Machine makes its look-to-the-future-not-the-past message as clear as a Grammy acceptance speech, but as an exploration of regret and the elusive quality of time, it falls well short of "Memento," another film starring a sad-eyed Pearce.
    • 55 Metascore
    • 60 Keith Phipps
    While not dwelling on plot eventually gets P.S. in trouble during the slack finale, it gives Linney and Grace plenty of room to maneuver.
    • 36 Metascore
    • 60 Keith Phipps
    A solid, interesting B-movie, in another season it would seem a good deal fresher.
    • 47 Metascore
    • 60 Keith Phipps
    It sputters whenever it has to move the story along, and it too often forgets to pay attention to Cuthbert; it makes a point about the mistake of treating women as sex objects, but it's perfectly content to use her as a plot device for the second and third acts.
    • 72 Metascore
    • 60 Keith Phipps
    Becomes precisely the sort of film its elements demand. As tearful goodbyes and joyful montage sequences set to lite-jazz saxophoning take over, "neatly winsome" trumps "messy drama" yet again.
    • 63 Metascore
    • 60 Keith Phipps
    In the end, Chaos is as compelling as it is confounding, and it's compelling in large part because of the confusion it stirs.
    • 73 Metascore
    • 60 Keith Phipps
    Cinematographer Italo Petriccione gives the film a dramatic look, but that never compensates for the lack of actual drama; when so much of the conflict concerns Cristiano's reluctance to betray his father, it might have helped to spend more time on exploring that relationship than on capturing what light looks like when it pours in from a cellar door.
    • 63 Metascore
    • 60 Keith Phipps
    When the suspense setpieces do come, many of them are staged with considerably less imagination—with cheap jolts underscored by an intrusive score—than would be expected from director Wes Craven.
    • 56 Metascore
    • 60 Keith Phipps
    At times, this makes the film easier to appreciate than it is to watch: The story is perfectly clear, but the film's style takes its cues from the characters' oblique emotions in a way designed to freeze viewers out.
    • 75 Metascore
    • 60 Keith Phipps
    But much of it, like its subject, is so cryptic, distractingly stylish, and impenetrably posed that it's rough going most of the way.
    • 69 Metascore
    • 60 Keith Phipps
    Young costars carry the film, creating real characters from a generally flat script and Peter Care's largely undistinguished direction, both of which conspire to keep Altar Boys' danger at a distance.
    • 62 Metascore
    • 60 Keith Phipps
    Its gloomy speculations on the ephemeral nature of art are paradoxically not easily forgotten, and Godard's daring again pays off, or at least comes close enough to get credit for trying.
    • 60 Metascore
    • 60 Keith Phipps
    With much more success than last summer's formula-bound "Atlantis," Treasure Planet finds the common ground between classic Disney animation and newfangled action-adventure films.
    • 61 Metascore
    • 60 Keith Phipps
    Contains enough exciting surf scenes that it could almost get by on visceral thrills alone.
    • 68 Metascore
    • 60 Keith Phipps
    For those who like Carrey and are waiting for a film they can honestly say they enjoyed through and through, this ain't it.
    • 61 Metascore
    • 60 Keith Phipps
    It's a stylish, cleverly plotted, perpetually unpredictable film with another electric (albeit brief) performance from Penn. So why is it so unaffecting?
    • 46 Metascore
    • 60 Keith Phipps
    Conceptually compelling, but the interest ends there, in part because the humans get squeezed to the margins in favor of pseudo-history and clashing battleaxes.
    • 47 Metascore
    • 60 Keith Phipps
    The unimposing Fiennes may not suggest the burly Luther's plain-talking peasant background, but he at least captures the charisma.
    • 62 Metascore
    • 60 Keith Phipps
    Though typically engaging, Ararat occasionally suffers from what's previously been a virtue in Egoyan's filmmaking. His distancing techniques, rather than sharpening his ability to deal with a subject that lends itself to high emotion -- sometimes just seem distancing.
    • 49 Metascore
    • 60 Keith Phipps
    Caine played Alfie as an incorrigible S.O.B. who at least made for good company. Law makes him a delicate boy with self-control problems who can't stop talking, and his charm runs out long before the film ends.
    • 74 Metascore
    • 60 Keith Phipps
    A slow, meditative movie-an appropriate choice given the subject matter-that ultimately fails, in spite of clearly heartfelt good intentions, because of its almost inhuman detachment.
    • 53 Metascore
    • 60 Keith Phipps
    It looks good. It seems to work. It occasionally coheres into a priceless moment. But in the end, the pieces don't all fit together as they should.
    • 75 Metascore
    • 60 Keith Phipps
    The lovable characters remain, but they never do much of interest in a sequel that's safely above average but superfluous.
    • 33 Metascore
    • 60 Keith Phipps
    The fun wears thin once it becomes clear that the only trick the film has to offer is footage of the women fighting and bonding over their shared love of the handsome but uncharismatic Verástegui.
    • 63 Metascore
    • 60 Keith Phipps
    A well-chosen cast helps make the wild notions convincing, and director Chris Columbus presents it all in an attractive, thoroughly watchable package. But try imagining a universe in which the Harry Potter series existed only in film form.
    • 49 Metascore
    • 60 Keith Phipps
    It's clumsy, but also strangely refreshing. To children raised on "Spy Kids" and "SpongeBob SquarePants," it may look as primitive as a daguerreotype, but never underestimate the persuasive powers of a cute animal.
    • 67 Metascore
    • 60 Keith Phipps
    Garden State coasts on this considerable charm until it hits a brick wall in its final segments.
    • 64 Metascore
    • 60 Keith Phipps
    Sure, it quickly turns into a one-note exercise in laughing at the yokels, but at least it has a vision.
    • 55 Metascore
    • 60 Keith Phipps
    Abril and Banderas are both terrific as the lovers-to-be... Almodóvar makes it easy to root for them to get together and balance each other out, but that means getting past the situation that brought them together in the first place, and the tension makes the movie queasy even when it’s compelling.
    • 54 Metascore
    • 60 Keith Phipps
    Director Thomas Balmès mostly just tags along for the ride, but the incidental details he picks up taint the sense of guarded hopefulness.
    • 66 Metascore
    • 60 Keith Phipps
    Panayotopoulou's background in photography shows in the way she lets her chiaroscuro lighting mirror her characters' emotions. It also shows in the still-life quality that Hard Goodbyes never quite gets beyond.
    • 72 Metascore
    • 60 Keith Phipps
    Wong’s usual concerns overwhelm the film, and though his pairing of fisticuffs and longing is sometimes awkward, he surrounds the awkwardness with some of the most beautiful images in his career. In Wong’s world, beauty goes a long way.
    • 61 Metascore
    • 60 Keith Phipps
    For all its simple politics, clanging dialogue, and underwritten roles—only Damon’s natural, and deepening, ability to suggest unspoken disappointment gives his character dimension—Elysium works, though never as well as it should.
    • 49 Metascore
    • 60 Keith Phipps
    Stallone and Schwarzenegger have all the gravity here, and keep pulling Escape Plan in the direction of an old-fashioned tough-guy action film, one filled with nods to their onscreen pasts and offscreen exploits.
    • 47 Metascore
    • 60 Keith Phipps
    Brett Ratner remains a director of no great distinction, but here, he proves himself an adept orchestrator of battle scenes, clearly presenting the forces on both sides, and using clear, coherent editing and dynamic compositions.
    • 61 Metascore
    • 60 Keith Phipps
    Like its immediate predecessor, Muppets Most Wanted has one tremendous advantage, even when it missteps: Muppets.
    • 64 Metascore
    • 60 Keith Phipps
    For much of The Patience Stone, Farahani is the movie, and as she shifts from fear to despair to anger to emotions she’d never previously considered, her magnetic presence goes a long way toward putting a human face on the film, more successfully than the material around her.
    • 77 Metascore
    • 60 Keith Phipps
    While some of the scenes feel contrived, the naturalistic performances never do.
    • 71 Metascore
    • 60 Keith Phipps
    The energy never flags, the film conveys a deep love of Brown’s music (which fills almost every scene), and Boseman remains magnetic whether onstage or in quiet moments.
    • 64 Metascore
    • 60 Keith Phipps
    It’s possible that something’s getting lost in translation, but Demme’s film only occasionally makes it seem like it’s worth the effort for the rest of the world to catch up.
    • 57 Metascore
    • 58 Keith Phipps
    After a while, Daybreakers settles into the lulling rhythms of too many horror movies, as the characters ponder what to do in darkened rooms instead of doing much of anything.