For 1,063 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 2.8 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The White Ribbon
Lowest review score: 0 Jonah Hex
Score distribution:
1,063 movie reviews
    • 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.
    • 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.
    • 30 Metascore
    • 30 Keith Phipps
    There's no pea soup, but sketchy effects, cheap jolts, swirling cameras, and buckets of blood surround Exorcist: The Beginning with the potent aroma of cheese.
    • 37 Metascore
    • 30 Keith Phipps
    Excerpted from The History Channel’s 10-part 2013 miniseries The Bible, then given extra footage, Son Of God boils the life of Jesus down to feature-length, but it plays less like a movie than a hastily edited attempt to explore a new revenue stream.
    • 29 Metascore
    • 30 Keith Phipps
    Even without the difficult imagery, Breillat's grim observations on men, women, and sexual orientation, are tough to take.
    • 40 Metascore
    • 30 Keith Phipps
    It's drainingly mediocre.
    • 47 Metascore
    • 30 Keith Phipps
    Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive.
    • 49 Metascore
    • 30 Keith Phipps
    The junk-shop surrealism ultimately gets the better of everyone's good intentions.
    • 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.
    • 68 Metascore
    • 30 Keith Phipps
    The best that can be said of Son Of The Bride is that it's attractively photographed. But, then, so was the Hindenburg explosion, and this packs far less excitement into its two shapeless hours.
    • 22 Metascore
    • 30 Keith Phipps
    Hard not to pelt the screen with rotten fruit when confronted with a film like Christmas With The Kranks.
    • 68 Metascore
    • 30 Keith Phipps
    A mud bath of sentiment, strained speechifying, and gloppy music.
    • 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.
    • 54 Metascore
    • 30 Keith Phipps
    Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
    • 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.
    • 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.
    • 31 Metascore
    • 30 Keith Phipps
    This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline.
    • 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.
    • 30 Metascore
    • 30 Keith Phipps
    Pettyfer and Wilde look the parts, but any scenes asking them to emote quickly turn disastrous.
    • 24 Metascore
    • 30 Keith Phipps
    Strange Magic certainly isn’t an ordinary sort of mess, and the personal nature of the project is still evident in the finished film.
    • 39 Metascore
    • 30 Keith Phipps
    The plot's profound implausibility wouldn't matter if the ideas and emotions behind it had any power.
    • 43 Metascore
    • 30 Keith Phipps
    When the film doesn’t strain for twinkly enlightenment, it stoops to find the easiest possible joke.
    • 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.
    • 53 Metascore
    • 30 Keith Phipps
    What a shame that The Hunting Of The President feels like part of the problem.
    • 45 Metascore
    • 30 Keith Phipps
    Hoffman and Travolta are both good, but this toothless satire does little to justify their performances.
    • 37 Metascore
    • 30 Keith Phipps
    This is teen product at its most generic.
    • 43 Metascore
    • 30 Keith Phipps
    Though it soon devolves into a laughable mess, The Forgotten at least spends its first 10 minutes or so raising provocative questions.
    • 65 Metascore
    • 30 Keith Phipps
    Through it all, Muccino piles on one shrill confrontation after another. At times, he seems headed for the melodramatic turf owned and operated by Pedro Almodóvar, but where the young Almodóvar would have deployed a prankish wit and the older Almodóvar scraped toward the humanity beneath.
    • 25 Metascore
    • 30 Keith Phipps
    It isn’t just sub-par for Argento, it’s sub-par for virtually any director. It’s a stain on Dracula’s good name, and a waste of time for even those looking for the cheapest of vampiric thrills.

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