For 1,021 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 2.2 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 Jonah Hex
Score distribution:
1,021 movie reviews
    • 42 Metascore
    • 30 Keith Phipps
    If there's one thing more heartbreaking than a crying child, it's a crying child wearing thick glasses, an image exploited numerous times throughout the course of the dull, uninvolving, tissue-thin Hope Floats.
    • 35 Metascore
    • 30 Keith Phipps
    A mess.
    • 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.
    • 42 Metascore
    • 30 Keith Phipps
    Rudnick is a wit, and his script allows everyone a decent one-liner or two. But the problem with one-liners is that they only last one line, leaving a whole movie around them that needs filling in.
    • 53 Metascore
    • 30 Keith Phipps
    What a shame that The Hunting Of The President feels like part of the problem.
    • 35 Metascore
    • 30 Keith Phipps
    If you've ever wanted to see Queen Latifah fatally attacked by jellyfish at the bottom of the ocean, Sphere is the movie for you. If you're looking for more, you're not going to find it here.
    • 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.
    • 48 Metascore
    • 30 Keith Phipps
    Has little to recommend it. A sterling example of how an unimaginative combination of interviews and archival footage can drain the life from even the most compelling topic, it feels padded at a mere 68 minutes.
    • 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.
    • 29 Metascore
    • 30 Keith Phipps
    Even without the difficult imagery, Breillat's grim observations on men, women, and sexual orientation, are tough to take.
    • 44 Metascore
    • 30 Keith Phipps
    When a sequel has to hit the reset button and take all its characters back to where they started, it probably didn't need to be made.
    • 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
    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.
    • 9 Metascore
    • 30 Keith Phipps
    A fairly faithful adaptation of what a game is like, but without the pleasure of getting to play or the much-needed option of pressing the "off" button.
    • 32 Metascore
    • 30 Keith Phipps
    Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier.
    • 39 Metascore
    • 30 Keith Phipps
    The plot's profound implausibility wouldn't matter if the ideas and emotions behind it had any power.
    • 59 Metascore
    • 30 Keith Phipps
    Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose.
    • 45 Metascore
    • 30 Keith Phipps
    Hoffman and Travolta are both good, but this toothless satire does little to justify their performances.
    • 36 Metascore
    • 30 Keith Phipps
    Domino de-emphasizes the human element--not to mention such niceties as plot and clarity--to such a degree that only those who show up purely to watch combustibles go "boom" won't feel insulted.
    • 42 Metascore
    • 30 Keith Phipps
    Shamelessly exploitative, but never entertainingly so.
    • 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.
    • 30 Metascore
    • 30 Keith Phipps
    No doubt a decent movie could have been made about the behind-the-scenes life of CBGB, but CBGB isn’t it. It’s as flip about the club as it is about Kristal, the music, and the time and place that shaped it all.
    • 37 Metascore
    • 30 Keith Phipps
    Though light on drama, Apple’s scenes at the shelter are easily the best part of the film, among the few moments when Gimme Shelter decides to show the effect of faith and charity rather than simply preach it.
    • 30 Metascore
    • 30 Keith Phipps
    Pettyfer and Wilde look the parts, but any scenes asking them to emote quickly turn disastrous.
    • 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.
    • 43 Metascore
    • 30 Keith Phipps
    When the film doesn’t strain for twinkly enlightenment, it stoops to find the easiest possible joke.
    • 29 Metascore
    • 30 Keith Phipps
    The film aims for twee, but lands on torturous. It’s narcissism blown up to a global scale, in the guise of a quirky voyage of self-discovery.
    • 35 Metascore
    • 30 Keith Phipps
    Neither Grossman’s uninspired staging nor the performances help much.
    • 41 Metascore
    • 25 Keith Phipps
    Fans of the genre might appreciate the decidedly R-rated violence and nudity, but that's really all the film has to offer.
    • 45 Metascore
    • 25 Keith Phipps
    Bynes appears in practically every scene, and the film seems to have been designed as a showcase for her comedic skills, which she apparently left behind in the trailer.

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