For 1,040 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 2.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,040 movie reviews
    • 82 Metascore
    • 100 Keith Phipps
    The film's capes and cowls suggest one genre, but it's a metropolis-sized tragedy at heart.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 100 Keith Phipps
    To create his disarmingly earnest film, Spielberg draws from the past. Its tone is humanistic and its technique classic.
    • 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.
    • 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.
    • 84 Metascore
    • 100 Keith Phipps
    It's a heartbreaking, bullet-strewn valentine to what keeps us human.
    • 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]
    • 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.
    • 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.
    • 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).
    • 78 Metascore
    • 100 Keith Phipps
    One of the best films of the year.
    • 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]
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 95 Metascore
    • 91 Keith Phipps
    Zuckerberg's story ends up feeling bigger than his own life.
    • 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.
    • 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.
    • 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.

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