For 1,034 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:
1,034 movie reviews
    • 49 Metascore
    • 30 Keith Phipps
    Shakespeare hasn't had it this rough since Lemmy from Motörhead performed the opening soliloquy in "Tromeo And Juliet."
    • 39 Metascore
    • 30 Keith Phipps
    Director Rob Bowman seems at a loss as to what to bring to the film, which, even with its good choice of leads, plods along from one dragon fight to the next, all of them staged to showcase Fire's impressive CGI dragons, but none choreographed with any real flair.
    • 34 Metascore
    • 30 Keith Phipps
    Works equally poorly as a tourist brochure and as a drama.
    • 68 Metascore
    • 30 Keith Phipps
    A mud bath of sentiment, strained speechifying, and gloppy music.
    • 31 Metascore
    • 30 Keith Phipps
    This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline.
    • 37 Metascore
    • 30 Keith Phipps
    Aside from a promising scene involving a cornfield rave and the pyrotechnic potential for grain alcohol, it drags along, taking a small eternity to set up a final showdown that plays more like a bloody pro-wrestling event than the stuff of nightmares.
    • 36 Metascore
    • 30 Keith Phipps
    Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff.
    • 47 Metascore
    • 30 Keith Phipps
    The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground.
    • 54 Metascore
    • 30 Keith Phipps
    Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
    • 48 Metascore
    • 30 Keith Phipps
    The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad.
    • 40 Metascore
    • 30 Keith Phipps
    It's drainingly mediocre.
    • 37 Metascore
    • 30 Keith Phipps
    All the principals -- except, significantly, screenwriter Kenneth Lonergan -- reprised their roles for the sequel, and all seem confused as to why they returned.
    • 46 Metascore
    • 30 Keith Phipps
    Hardwick switches gears from wacky comedy to romantic drama about halfway through Deliver Us, but it's too late, and what follows is far too dull to make any difference.
    • 48 Metascore
    • 30 Keith Phipps
    Parker's film is flat beyond the flatness appropriate to the story; the conflict between Glover and Paymer follows Melville's original so squarely that it quickly begins to feel like they're going through the motions.
    • 30 Metascore
    • 30 Keith Phipps
    Plays less like an exposé than a piece of exploitation, its clear divide between good and evil allowing no breathing room for real drama.
    • 30 Metascore
    • 30 Keith Phipps
    Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
    • 39 Metascore
    • 30 Keith Phipps
    Yet another comedy that suggests someone should take Martin aside and remind him that he can do better.
    • 38 Metascore
    • 30 Keith Phipps
    Anyone who already knows better than to taunt the disabled, or former Oscar winners, should probably give it a pass.
    • 43 Metascore
    • 30 Keith Phipps
    A film as grisly as it is dumb.
    • 40 Metascore
    • 30 Keith Phipps
    It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.
    • 34 Metascore
    • 30 Keith Phipps
    It's also hard to figure out who this movie is supposed to delight: It's too scary for little kids and not nearly scary enough for anyone allowed to rent "The Ring" without getting carded.
    • 51 Metascore
    • 30 Keith Phipps
    McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
    • 37 Metascore
    • 30 Keith Phipps
    This is teen product at its most generic.
    • 35 Metascore
    • 30 Keith Phipps
    Attempts at high spirits and the presence of Matthew Lillard all suggest that this is supposed to be a comedy.
    • 33 Metascore
    • 30 Keith Phipps
    The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
    • 42 Metascore
    • 30 Keith Phipps
    Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll.
    • 32 Metascore
    • 30 Keith Phipps
    When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
    • 29 Metascore
    • 30 Keith Phipps
    It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation."
    • 33 Metascore
    • 30 Keith Phipps
    Sadly, The Punisher is about little more than bullets hitting bone, and how good it might feel to be on the right end of a gun.
    • 56 Metascore
    • 30 Keith Phipps
    Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.

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