For 981 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 1.9 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
Average review score: 57
Highest review score: 100 Children of Men
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
981 movie reviews
    • 22 Metascore
    • 25 Keith Phipps
    Star Martin Lawrence, now the sole remaining element from the original "Big Momma's House" 11 years ago, looks pretty tired both in and out of makeup here.
    • 36 Metascore
    • 25 Keith Phipps
    It shouldn't, in other words, be that hard to make a good Conan movie. John Milius did a half-decent job with "Conan The Barbarian" in 1982, but this new film of the same name feels like a half-hearted revamp of virtually any of the Conan rip-offs that clogged up video-store shelves in the '80s.
    • 18 Metascore
    • 25 Keith Phipps
    It's a potentially creepy setting that would give an innovative director a chance to do a lot with a little. Unfortunately, Lincoln isn't one of those.
    • 17 Metascore
    • 25 Keith Phipps
    The first Human Centipede had audacity on its side. Human Centipede II has only excess.
    • 45 Metascore
    • 25 Keith Phipps
    The original was repulsive but impossible to shake. This remake is pure applause bait, which makes it barbaric in ways Peckinpah would never have dreamed.
    • 40 Metascore
    • 25 Keith Phipps
    It's thin material, to say the least, and manipulative to boot, putting women, children, and a SEAL father-to-be in jeopardy in ways more about servicing cheap thrills than any larger point about the perilous state of the world in 2012.
    • 31 Metascore
    • 25 Keith Phipps
    Adrien Brody delivers a colorful turn as a braided-and-tatted drug kingpin who thinks his pet toad talks to him (funny animal, check!), but High School is otherwise a tedious sludge through the same gray corridors where the same old gags wait around every turn.
    • 14 Metascore
    • 25 Keith Phipps
    Bravely or stupidly, both A Little Bit Of Heaven and its heroine charge on as if the introduction of terminal cancer didn't change things that much.
    • 31 Metascore
    • 20 Keith Phipps
    Craven's name doesn't appear anywhere in the credits of the film otherwise known as They. That's fitting, too, since even the worst Craven-directed movies have a lot more going for them than this painfully familiar bit of oogum-boogum.
    • 47 Metascore
    • 20 Keith Phipps
    Even if the time were somehow right for a madcap comedy about terrorists, What To Do In Case Of Fire would still look pretty lousy.
    • 19 Metascore
    • 20 Keith Phipps
    Looks like a video-game promo, has a story that plays like the fifth episode of a struggling syndicated action show, and feels like a headache waiting to happen.
    • 37 Metascore
    • 20 Keith Phipps
    Never good, Crush takes a turn for the worse when it takes a turn for the serious. Its attempt to drop cartoon comedy for cartoon tragedy essentially thrusts the characters from Cathy into the panels of Mary Worth.
    • 14 Metascore
    • 20 Keith Phipps
    Only those attracted to "Waterworld" or "Last Action Hero" level big-budget disasters need bother with this one.
    • 21 Metascore
    • 20 Keith Phipps
    Either a thoroughly incomprehensible movie or a daring exercise in the cinema of disorientation, and a painful viewing experience either way.
    • 24 Metascore
    • 20 Keith Phipps
    Relies on the most time-tested basic moves of farce for laughs that just don't come.
    • 28 Metascore
    • 20 Keith Phipps
    It's like a cross between "Heathers" and "Waiting For Guffman," had those movies been made by morons, for morons, and the cinematic equivalent of cow-tipping, only less graceful.
    • 45 Metascore
    • 20 Keith Phipps
    It's not the implausibility of its plot, the shallowness of its characters, its funereal pace, its tenuous understanding of teenage behavior, its commercial-ready TV-movie-style direction, or the fact that Pfeiffer and Williams may be the most implausible Italian-Americans since James Caan -- the film is most undone by its near-complete lack of genuine drama.
    • 17 Metascore
    • 20 Keith Phipps
    Extreme Ops seems to have only the slightest grasp of its own absurdity (or its own horribleness), which makes it almost charming.
    • 41 Metascore
    • 20 Keith Phipps
    Torque has a sense of humor about itself, but the laughs stick in the throat.
    • 9 Metascore
    • 20 Keith Phipps
    A singularly uncharismatic leading man, the paunchy, expressionless, frequently inarticulate Sigel makes an unintentionally comic impression as a character named, naturally, Beans.
    • 45 Metascore
    • 20 Keith Phipps
    There's "so bad it's good," but there's also "just plain bad," and Skeleton's pre-processed shittiness spoils the fun.
    • 57 Metascore
    • 20 Keith Phipps
    Beloved has an almost gut-wrenching quality to it. But the same can't be said for the movie overall--it's a noble, ambitious failure, but a failure nonetheless.
    • 63 Metascore
    • 20 Keith Phipps
    There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
    • 27 Metascore
    • 20 Keith Phipps
    Perhaps Lee took a look at the script -- saw all the jokes about diarrhea, pubic lice, drunk old ladies, and drugged gravy, and thought, "Why bother?" Looking at the final results, it's hard to feel any other way.
    • 33 Metascore
    • 20 Keith Phipps
    It essentially uses the setup of an early Dick short story as a bookend to one long, dull chase scene.
    • 30 Metascore
    • 20 Keith Phipps
    Clayburgh and Tambor demonstrate genuine chemistry, but the film keeps diluting it with awful attempts at comedy and worse attempts at drama.
    • 27 Metascore
    • 20 Keith Phipps
    The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire.
    • 15 Metascore
    • 20 Keith Phipps
    Gives virtually every cast member a shot at humiliation.
    • 31 Metascore
    • 20 Keith Phipps
    It's a worthless bit of low-grade satire that's as sophisticated and entertaining as a pile of twigs.
    • 26 Metascore
    • 20 Keith Phipps
    This vanity project belongs to an audience of one.
    • 24 Metascore
    • 20 Keith Phipps
    It mostly serves as a warning to stay away from future films involving director Nick Hamm and screenwriter Mark Bomback.
    • 15 Metascore
    • 20 Keith Phipps
    Much poorly choreographed gunplay, many lovingly rendered head explosions, and some half-assed exposition about centuries-old, immortality-seeking pirates follow, with nothing to recommend House Of The Dead to anyone but the most undiscriminating zombie-movie fans.
    • 32 Metascore
    • 20 Keith Phipps
    Dylan's performance doesn't offer any clues. He's an icon and he delivers an icon's performance, literally: He could easily have been replaced by piece of wood with his face painted on it. That distance also means he remains more or less untouched by the embarrassment going on around him, even though it's largely his own creation.
    • 41 Metascore
    • 20 Keith Phipps
    A grimy mess set among L.A.'s speed-abusing "tweakers," Salton has neither the substance to justify first-time feature director D.J. Caruso's pretentious flourishes, nor the skill to make those flourishes work on their own terms.
    • 28 Metascore
    • 20 Keith Phipps
    Director Shawn Levy brings a yeoman-like joylessness to the project, spoiling whatever fun might have been had. Kutcher and Murphy seem game enough, and it's a testament to their charisma that they're the hardest element of the film to hate.
    • 32 Metascore
    • 20 Keith Phipps
    Send a check to UNICEF and go see "Lost In Translation," "Mystic River," or "Kill Bill" instead.
    • 47 Metascore
    • 20 Keith Phipps
    Gibson makes sure that no blow remains unfelt, and his approach can't help but stir the body, but he never touches the soul.
    • 40 Metascore
    • 20 Keith Phipps
    When the CGI snakes finally arrive, they look like they've just returned from a guest spot on "Charmed;" if the film had cut any more corners, it would have had to borrow graphics from an old Intellivision game.
    • 46 Metascore
    • 20 Keith Phipps
    Lyne doesn't seem to get the novel, failing to incorporate any of Nabokov's black comedy -- which is to say, Lolita's heart and soul.
    • 38 Metascore
    • 20 Keith Phipps
    John Travolta should realize that people appreciate him, maybe more than ever, but that he should start making movies people won't feel ashamed for having seen if he wants to avoid co-starring with a talking lemur in the future.
    • 16 Metascore
    • 20 Keith Phipps
    Parlavecchio is kind of an asshole, and that–along with the stilted dialogue, clueless portrayals of women, and the fact that much of the plot has been lifted from Tom Perrotta's terrific novel "The Wishbones"–ranks among the film's main problems.
    • 22 Metascore
    • 20 Keith Phipps
    Where 300 made a virtue of its low budget by stripping the visuals down to their essential elements, the shot-in-Bulgaria Legend Of Hercules mostly just looks rushed and cheap, only coming to life in a handful of fight scenes, and then only briefly.
    • 47 Metascore
    • 20 Keith Phipps
    As much an inspirational email forward as a film, it’s helped by the work of a strong cast and some photography that makes Nebraska look like heaven on earth. That doesn’t make it persuasive, however.
    • 17 Metascore
    • 16 Keith Phipps
    Actually, it's pretty much the definition of absurd.
    • 22 Metascore
    • 16 Keith Phipps
    Passion Play doesn't overreach so much as it overindulges in aimless pacing, inert acting, and a romance maudlin enough to make "Twilight" look restrained.
    • 9 Metascore
    • 10 Keith Phipps
    Dirty Love offers a series of desperate would-be comic moments.
    • 67 Metascore
    • 10 Keith Phipps
    Tough to respect a documentary that doesn't play fair. Anyone interested in the subject would be better off spending Life And Debt's torturous 80-minute running time with a good article on the topic.
    • 11 Metascore
    • 10 Keith Phipps
    An unintended gift to midnight-movie programmers and students of the bizarre, Roberto Benigni's Pinocchio could have become a "Howard The Duck" -- or "Battlefield Earth"-like synonym for cinematic miscalculation, were its title not already so familiar.
    • 32 Metascore
    • 10 Keith Phipps
    While the special effects are impressive, countless films have already proven that if you sink enough money into a project, you can at least make it look good. Unfortunately, good looks are all Godzilla has going for it.
    • 27 Metascore
    • 10 Keith Phipps
    It's all handled so poorly that it comes off as more ghoulish than anything else, although those who find the word "bong" instantly entertaining and are easily distracted by the presence of flickering images may be amused.
    • 28 Metascore
    • 10 Keith Phipps
    Until Timeline reaches its flaming-trebuchet-siege finale -- which should impress anyone who's never seen "The Two Towers" -- it has the stirring production values of an episode of the Tia Carrere action series "Relic Hunter," but with only a fraction of the acting talent and intellectual heft.
    • 31 Metascore
    • 10 Keith Phipps
    In short, every element suggests Envy ought to be amusing, but the only comparably disastrous movie in recent memory involves Ben Affleck, Jennifer Lopez, and a rapping retarded man.
    • 12 Metascore
    • 10 Keith Phipps
    A film about as funny as a seeping wound.
    • 28 Metascore
    • 10 Keith Phipps
    Clooney fails to make much of an impression as The Batman, but to make an impression amongst all the garish theatrics, he would pretty much have to shout his dialogue in rhyming verse, backwards.
    • 37 Metascore
    • 10 Keith Phipps
    Like everything else in this needless remake—from a heartless performance by Williams to the patented kiddie-sadism of screenwriter John Hughes—it's sloppily grafted onto a skeletal version of the original, with scenes lifted from the source and reinserted in a manner that doesn't make sense.
    • 50 Metascore
    • 10 Keith Phipps
    A conclusion featuring a dizzying string of betrayals that leads to a confusing anti-climax robs the film of even cheap action thrills, making Hoodlum an almost thoroughly forgettable experience, albeit probably the only film in history to unite Queen Latifah and The Mod Squad's Clarence Williams III.
    • 66 Metascore
    • 10 Keith Phipps
    It's... directed by Andy Tennant ("It Takes Two") with all the flair of an episode of "7th Heaven", making it that much more worth avoiding.
    • 7 Metascore
    • 0 Keith Phipps
    How is Paris Hilton in her first starring role to receive a national release? Pretty bad, actually. She's limited to a single, all-too-familiar expression of smug self-satisfaction, and she delivers her lines in a tone somewhere between "seductive" and "dish-soap commercial."
    • 33 Metascore
    • 0 Keith Phipps
    More of a throwback to a period in the '70s when big-screen comedies like "FM" and "Thank God It's Friday" seemed to take all their cues from bad sitcoms, putting rice-paper-flat characters into vibrant settings and giving them nothing to do but exchange faux witty dialogue without the much-needed cues of a laugh track.
    • 15 Metascore
    • 0 Keith Phipps
    Zany antics of the most painful sort.
    • 12 Metascore
    • 0 Keith Phipps
    It's almost fascinating to witness just how lousy The Avengers really is.
    • 14 Metascore
    • 0 Keith Phipps
    Does this even count as a movie?
    • 35 Metascore
    • 0 Keith Phipps
    At the very least, this film should hush those who insist that Diaz has talent beyond visual appeal, but it's unfair to single out her relatively minor offenses when there's so much else to hate about A Life Less Ordinary, an embarrassment for all concerned.
    • 33 Metascore
    • 0 Keith Phipps
    Every once in a while, a film limps into theaters so stitched together, it's a wonder it doesn't rip apart in the projector. Jonah Hex is such a film.
    • 25 Metascore
    • 0 Keith Phipps
    It fails on every conceivable level.
    • 20 Metascore
    • 0 Keith Phipps
    The Last Airbender isn't that much different from the rest of this summer's generally dire multiplex fare-from "The A-Team" to "Jonah Hex"... But it is remarkable in one respect: It's the worst of them.
    • 24 Metascore
    • 0 Keith Phipps
    Unpleasant when it isn't dull, Apollo 18 never sells the lost-footage illusion, and never compensates for it with scares. Jolts, sure. Like so many lazy horror directors, López-Gallego knows how to startle, but not how to frighten.