For 1,000 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 Neil Young: Heart of Gold
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,000 movie reviews
    • 52 Metascore
    • 58 Keith Phipps
    A filmed Sunday-school lesson that favors a dry, by-the-Book approach over even a suggestion of dramatic interpretation. It's more Christmas pageant than movie.
    • 69 Metascore
    • 58 Keith Phipps
    Unfortunately, that story isn't particularly well told, and after a while, the strength of the two leads' work and the popping soundtrack can't hide the fact that Lemmons doesn't really have much to say about the material.
    • 49 Metascore
    • 58 Keith Phipps
    Either way, it's too pretentious--or not nearly pretentious enough.
    • 51 Metascore
    • 58 Keith Phipps
    The Golden Compass does manage the job of bringing Pullman's world to the screen. With luck, any future entries will try harder to get the job done right.
    • 65 Metascore
    • 58 Keith Phipps
    Too bad the story is all over the place. One second, it focuses on a love triangle between students; the next, it's about Washington's efforts to unionize the local farmers.
    • 55 Metascore
    • 58 Keith Phipps
    It's not without laughs--Poehler and Fey, as ever, have strong chemistry, and there's a truly bizarre scene in which Martin offers Fey a strange "reward" for a job well done--but there's a lot of arid space between them.
    • 63 Metascore
    • 58 Keith Phipps
    Video veteran Sanaa Hamri directs with smooth competence, and the leads all go pleasantly through their paces, but there are no surprises.
    • 43 Metascore
    • 58 Keith Phipps
    It's the perfect end-of-summer film, and a sign that summer needs to end soon.
    • 51 Metascore
    • 58 Keith Phipps
    What does a film called Hotel For Dogs need in order to avoid being a watch-checker for grown-ups? Whatever it is, Hotel For Dogs doesn't have it.
    • 45 Metascore
    • 58 Keith Phipps
    The action scenes don't always get the balance between flash and danger right, but the movie remains agreeably dopey--presenting street-racing culture as a hotbed of colorful stereotypes and lipstick lesbianism--until a climax that just isn't there.
    • 73 Metascore
    • 58 Keith Phipps
    It's an agreeably unambitious comedy that might be called a romp, if that word didn't imply a little too much energy.
    • 50 Metascore
    • 58 Keith Phipps
    The series kept it going for one more entry, but throws its commitment to the era away with movie number three, a ploy sure to anger Ice Age purists everywhere.
    • 55 Metascore
    • 58 Keith Phipps
    Lee’s movie is pleasant enough, but it’s too swept up in the spirit it’s celebrating to ask the relevant questions.
    • 70 Metascore
    • 58 Keith Phipps
    Mann reduces a legendary game of cat-and-mouse to the size of a standard police procedural. His refusal to mythologize Dillinger’s exploits is audacious, but too much of Public Enemies feels disappointingly smaller than life.
    • 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.
    • 53 Metascore
    • 58 Keith Phipps
    The best adaptations have found ways to put a personal stamp on the familiar stories. Others have simply reproduced an Alice facsimile in the image of their own era. Surprisingly, Tim Burton’s Alice In Wonderland belongs to the latter camp. That doesn’t necessarily make it a bad movie, just another frustratingly impersonal one from a director who once had trouble compacting his personality down to movie size.
    • 55 Metascore
    • 58 Keith Phipps
    The crazies themselves could be a lot more terrifying. Without the rotting ickiness of proper zombies, they just seem like methed-out Iowans looking for a fix. That’s scary, but not scary enough.
    • 32 Metascore
    • 58 Keith Phipps
    It’s a time-waster with brains, but ultimately not enough brains, and one that wastes too much time.
    • 48 Metascore
    • 58 Keith Phipps
    It all goes awry in the end, but for a good stretch, Chloe neatly fixes Egoyan’s career-long obsessions with identity and communication to the familiar framework of the erotic thriller.
    • 66 Metascore
    • 58 Keith Phipps
    Vaughn opts for comic-book bigness—big fights, big laugh lines, big explosions—but without a Spider-Man or Batman at the front of the action, Kick-Ass’s heroes and villains look smaller-than-life in a larger-than-life world.
    • 53 Metascore
    • 58 Keith Phipps
    Image for image and shot for shot, Scott is still one of the most striking directors around, but in Robin Hood, the cohesive particles keeping those images together--frills like a compelling plot and sculpted characters--prove unstable.
    • 69 Metascore
    • 58 Keith Phipps
    "Happiness" was, in its own dry, muted way, a howl of fatalistic despair discernible to anyone who's ever felt life had run out of cruel tricks to play. Life During Wartime is less a reprise of that howl than its echo.
    • 61 Metascore
    • 58 Keith Phipps
    The film ultimately feels like a well-trod journey to a familiar destination with not enough wonder along the way.
    • 65 Metascore
    • 58 Keith Phipps
    Make no mistake. In spite of its worthy subject matter and good intentions, Made In Dagenham remains mediocre to the core.
    • 44 Metascore
    • 58 Keith Phipps
    Faster starts to lay on a heavy-handed message about the importance of forgiveness. That isn't what anyone showed up to see.
    • 39 Metascore
    • 58 Keith Phipps
    It's a strange, shapeless, rarely satisfying, but generally amiable movie in which everyone appears to be faking it as they go along, and almost-almost-getting away with it.
    • 57 Metascore
    • 58 Keith Phipps
    Rowan Joffe (son of Roland Joffe) provides busy, if never particularly distinctive direction, but it's the leads that continually threaten to sink the film.
    • 55 Metascore
    • 58 Keith Phipps
    Whatever its basis in fact, there's nothing to Young Goethe In Love's story that dozens of other films haven't done before, and better. But Fehling keeps his Goethe just on the right side of obnoxious, and Stein invests a lot of character and gawky charm into what easily could have been just "the girl."
    • 72 Metascore
    • 58 Keith Phipps
    This time out, Shelton seems to be playing the part of someone who doesn't know how to finish what she started.
    • 49 Metascore
    • 58 Keith Phipps
    Viewers who dislike movies in which all drama hinges on one character withholding information from another for no reason beyond the need to keep the plot chugging along should stay far away from People Like Us. The film does have its charms, but getting to them means seeing past a Buick-sized contrivance.
    • 48 Metascore
    • 58 Keith Phipps
    The Odd Life Of Timothy Green attempts to stage a modern fairy tale in Middle America. But in spite of an abundance of earnestness, the pixie dust needed to create magic remains out of the film's reach.
    • 50 Metascore
    • 58 Keith Phipps
    There really ought to be a lot more movies like Hit & Run, but only if they're just a little bit better.
    • 37 Metascore
    • 50 Keith Phipps
    Company almost seems like the product of a post-Sept. 11 world. Like a cartoon version of a real threat, the villains are terrorists of a non-specific nationality with an ill-defined anti-American agenda and a tendency to spout complaints too clichéd to take seriously.
    • 51 Metascore
    • 50 Keith Phipps
    In the end, it becomes the cinematic equivalent of one of the songs Tunney adores: enjoyable enough while it lasts, but so thin that its ingratiating charms seem as much a source of frustration as pleasure.
    • 58 Metascore
    • 50 Keith Phipps
    Shaw and Kingsley both create crisp, comic performances, but Sorvino remains a problem throughout. Her physical transformation falls short of the "Boys Don't Cry" standard, to put it mildly.
    • 36 Metascore
    • 50 Keith Phipps
    Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
    • 65 Metascore
    • 50 Keith Phipps
    The characters are funny and the cast's characterizations right on, but the movie repeatedly lets them down.
    • 53 Metascore
    • 50 Keith Phipps
    Ultimately, writer-director Joseph Cedar has created a film that resembles a subtitled very special episode of "JAG."
    • 48 Metascore
    • 50 Keith Phipps
    Tries for that series' breezy matinee atmosphere but the results turn out far too forced.
    • 50 Metascore
    • 50 Keith Phipps
    A situation of such inherent drama only suffers from the director's attempts to intensify it, and eventually, the scenes of professional and personal rejection begin to suffer from an overabundance of pathos.
    • 54 Metascore
    • 50 Keith Phipps
    It works for a little while, but an Irons-narrated slideshow of the region would have worked just as well.
    • 51 Metascore
    • 50 Keith Phipps
    If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
    • 27 Metascore
    • 50 Keith Phipps
    Over in a breeze, padded out by a generous collection of outtakes, and filled with characters who disappear virtually unnoticed, View is an inoffensive comedy that feels like the victim of too much fiddling.
    • 53 Metascore
    • 50 Keith Phipps
    Milos and Rossum are like Iberian "Gilmore Girls," only with an ocean view and without the clever dialogue.
    • 38 Metascore
    • 50 Keith Phipps
    Though haphazardly put together, The Medallion stays fairly entertaining until it kills Chan off and resurrects him as an immortal being.
    • 24 Metascore
    • 50 Keith Phipps
    The film owes as much to Caddyshack as to Capra.
    • 53 Metascore
    • 50 Keith Phipps
    As a nail-biting thriller, The Siege is too confusing, and as a thought-provoking social drama, too confused.
    • 71 Metascore
    • 50 Keith Phipps
    Skillfully sketches the parameters of its small-town existence but never quite fleshes out the inhabitants of those parameters. Without the well-considered humor and strongly defined characters of "Chuck," only a good cast stands between Girl and some familiar stereotypes.
    • 71 Metascore
    • 50 Keith Phipps
    One of the not-so-nice qualities of Real Women Have Curves is that it occasionally is as preachy as its title suggests.
    • 52 Metascore
    • 50 Keith Phipps
    Director Blair Treu hails from Brigham Young University, and while there's nothing explicitly religious about Little Secrets, his primary influence seems to be those LDS public-service announcements in which nice people learn to become even nicer.
    • 52 Metascore
    • 50 Keith Phipps
    For a film that depends so much on the interaction between words and passion -- and the drama of how each shapes the other -- the shortage of both leaves Possession looking like nothing more than an "Indiana Jones" in which card catalogs stand in for treasure maps, and footnotes for bullwhips.
    • 56 Metascore
    • 50 Keith Phipps
    The many shots of characters operating devices with remote controls will do little to quiet the complaints that the films have started to resemble video games, and the same can be said of the proliferating digital effects.
    • 54 Metascore
    • 50 Keith Phipps
    Though The Bread, My Sweet is never even a little bit better than this description makes it sound, writer-director Melissa Martin's stagy, unattractive-looking film should at least get credit for going all the way with its manipulation.
    • 46 Metascore
    • 50 Keith Phipps
    The best thing about the movie is its premise: It's a good idea, taken from before Allen's recent losing streak, but it's stretched too thin for its own good.
    • 64 Metascore
    • 50 Keith Phipps
    Fortunately, no one seems to have clued Bardem in on the game plan, and the fierceness and complexity he brings to his role nearly saves Mondays In The Sun.
    • 53 Metascore
    • 50 Keith Phipps
    The film de-emphasizes plot and action in favor of lyricism and outbursts of magic-doing, but the results are more dull than enchanting, no matter how many people fly across the room.
    • 67 Metascore
    • 50 Keith Phipps
    Turns a fond look back at the great Federico Fellini into an occasion for the kind of talky tedium Fellini's own movies would never have allowed.
    • 52 Metascore
    • 50 Keith Phipps
    It's handsomely mounted, and its heart seems in the right place, but that's not reason enough to put on a show.
    • 71 Metascore
    • 50 Keith Phipps
    An ambitious undertaking, but not a successful one: It unfolds with the studied determination of a grade-school book report.
    • 48 Metascore
    • 50 Keith Phipps
    The film is smart enough to know that verbal humor isn't its strong point, but it doesn't offer much in the way of compensation.
    • 60 Metascore
    • 50 Keith Phipps
    However much the film may mirror the truth, dramatically it feels like a cheat. It omits the human spark that would make it work as a film, rather than a collection of dramatized issues.
    • 60 Metascore
    • 50 Keith Phipps
    Kids won't mind a bit, but adults accustomed to "Shrek" and Pixar will have no trouble spotting what's missing.
    • 50 Metascore
    • 50 Keith Phipps
    Andrew Davis ("The Fugitive," "Steal Big Steal Little") has made a technically competent thriller that's not only thrill-less, but dull.
    • 52 Metascore
    • 50 Keith Phipps
    Writer-director Audrey Wells never aims higher than postcard filmmaking, and Under The Tuscan Sun at least works on that level, by casting its little operetta of self-realization and remodeling travails against some of the most beautiful scenery in the world.
    • 38 Metascore
    • 50 Keith Phipps
    Seems to understand its source material, but has no idea how to improve on it.
    • 61 Metascore
    • 50 Keith Phipps
    Though star-packed to the point of absurdity--juror Luis Guzmán has little to do but nod his head every once in a while--The Runaway Jury doesn't know what to do with its players.
    • 52 Metascore
    • 50 Keith Phipps
    In the wake of T"he Passion Of The Christ," the three-hour chore takes on some positive qualities it wouldn't have had otherwise.
    • 54 Metascore
    • 50 Keith Phipps
    At least Dennis Franz, as a former angel, livens up his scenes, and Ryan is less intolerable than usual. Meanwhile, the always-interesting Cage does a good job pretending he's in a better movie. But he's not.
    • 46 Metascore
    • 50 Keith Phipps
    Much of the film feels like watching "Home Alone" and "Mr. Mom" on 12 different TVs at once.
    • 68 Metascore
    • 50 Keith Phipps
    While watching Gazzara, Huston, Kevin Corrigan, Rosanna Arquette, and others take things two steps beyond over-the-top is inherently compelling, it becomes embarrassing before long.
    • 57 Metascore
    • 50 Keith Phipps
    Cheers and many happy returns to Garner as she makes her first starring film role. She's the real deal. But jeers to every other aspect of 13 Going On 30.
    • 62 Metascore
    • 50 Keith Phipps
    If director Brian Dannelly were interested in taking his film into the realm of camp, the gag might have worked, but as is, it simply gives the impression that he doesn't quite know what he's talking about.
    • 61 Metascore
    • 50 Keith Phipps
    Director Jacques Sarasin lazily relies on a talking-heads/archival-footage approach to tell Traoré's story, doing little to put it in context and assuming a lot more knowledge of Malian history than most viewers possess.
    • 55 Metascore
    • 50 Keith Phipps
    Mostly, Dodgeball just feels off--never consistently funny, but also never dire. It's as if Thurber resigned himself to making a dumb, formula-bound movie with a dusting of smart gags instead of a smart movie in dumb-movie clothes.
    • 60 Metascore
    • 50 Keith Phipps
    It never adds up to much. There's a fair amount of fine acting (with that cast, how could there not be?), but it's in the service of a story that bubbles without ever boiling.
    • 59 Metascore
    • 50 Keith Phipps
    The result: some intriguing moments, even more intriguing performances, and a film that doesn't quite work.
    • 44 Metascore
    • 50 Keith Phipps
    Though "extremely mediocre" may seem like an oxymoron, no phrase better defines Picture Perfect. Aside from wearing, with visual discomfort, a series of absurdly revealing dresses, Aniston does little to distance herself from her "Friends" persona with this slightly less likable character.
    • 59 Metascore
    • 50 Keith Phipps
    The action, while busy, never produces much excitement, particularly since Thanit never gives the audience any reason to care about the characters, beyond their underdog status.
    • 49 Metascore
    • 50 Keith Phipps
    The members of its young cast (Jennifer Connelly, Joaquin Phoenix, Liv Tyler) have all shown promise elsewhere, but don't really get to do much but look attractive and troubled here. They may be stars, but as long as they keep treading water in bland stuff like this, the world may never know.
    • 54 Metascore
    • 50 Keith Phipps
    In spite of the unavoidable disappointment that comes from raised expectations (and lowered elevations), it's clumsy storytelling that ultimately keeps Warriors grounded.
    • 64 Metascore
    • 50 Keith Phipps
    After a sentimental opening sequence, he (Kang) scarcely lets the film pause to breathe, which dulls its effectiveness.
    • 59 Metascore
    • 50 Keith Phipps
    The perfect movie for 14-year-old girls having a slumber party, and a must for everyone else to avoid.
    • 64 Metascore
    • 50 Keith Phipps
    As historical speculation, it's clever enough. As a film, it glows with flop-sweat.
    • 65 Metascore
    • 50 Keith Phipps
    It looks handsome but seems infected by the idea of playing different roles; a comedy in one scene, it adopts a mood of a high seriousness the next and clutters the stage with minor characters that contribute little. In the end, this inability to make up its mind does the film in.
    • 49 Metascore
    • 50 Keith Phipps
    Less a film than a terror delivery system, The Grudge repeatedly shows off Shimizu's technical chops, but never gives viewers a reason to care about or identify with the victims.
    • 55 Metascore
    • 50 Keith Phipps
    Annaud has given Seven Years In Tibet an epic scope, packed with beautiful scenery, lush costumes, and elaborate sets. Which would all be well and good if they didn't often seem like the reason the movie exists.
    • 61 Metascore
    • 50 Keith Phipps
    As a spectacle, The Polar Express looks remarkable. As a film, however, it's the equivalent of an elaborately wrapped Christmas present containing a nice new pair of socks.
    • 77 Metascore
    • 50 Keith Phipps
    A sophomore film major would be lucky to get a passing grade with such material.
    • 63 Metascore
    • 50 Keith Phipps
    When the halves of the film collide in the courtroom climax, it looks like a misbegotten pilot for Law & Order: Usury Victims Unit.
    • 42 Metascore
    • 50 Keith Phipps
    Better than an opportunistic sequel has any right to be, but still pretty flawed.
    • 34 Metascore
    • 50 Keith Phipps
    The role needs a steely, inhuman reserve, and Garner's innate likeability works against her.
    • 54 Metascore
    • 50 Keith Phipps
    Some might even find the leisurely pace a nice break from the rapid-fire approach favored by most kids' entertainment.
    • 45 Metascore
    • 50 Keith Phipps
    Even more sad is an embarrassingly shrill performance by Faye Dunaway, and an ending which insults the ability of the audience to watch a movie without having a conclusion spoon-fed to them.
    • 55 Metascore
    • 50 Keith Phipps
    The monster effects, as designed by Stan Winston, are stunners, but after Twister, it should be obvious that it's not the quality of the effects that matter so much as the quality of the film in which they appear.
    • 55 Metascore
    • 50 Keith Phipps
    The latter half, set in the less visited parts of New York's subway system, bogs down considerably, abandoning its hybrid approach and becoming content to simply clone Aliens.
    • 55 Metascore
    • 50 Keith Phipps
    Ice Princess will probably connect most strongly with kids who have yet to develop an awareness of sports- and family-film clichés.
    • 58 Metascore
    • 50 Keith Phipps
    On the whole, the film is a shallow, shrill, and all-too-familiar marital roundelay.
    • 56 Metascore
    • 50 Keith Phipps
    If only any of it were funny.
    • 45 Metascore
    • 50 Keith Phipps
    A sweet, inoffensive, achingly laughless comedy.