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 2.7 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Dark Knight
Lowest review score: 0 8 Heads in a Duffel Bag
Score distribution:
1,063 movie reviews
    • 14 Metascore
    • 20 Keith Phipps
    Only those attracted to "Waterworld" or "Last Action Hero" level big-budget disasters need bother with this one.
    • 41 Metascore
    • 20 Keith Phipps
    Torque has a sense of humor about itself, but the laughs stick in the throat.
    • 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.
    • 15 Metascore
    • 20 Keith Phipps
    Gives virtually every cast member a shot at humiliation.
    • 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.
    • 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.
    • 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.
    • 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 He's an icon and he delivers an icon's performance, literally: He could easily have been replaced by piece of wood with his face painted on it.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.
    • 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.
    • 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.
    • 32 Metascore
    • 20 Keith Phipps
    Send a check to UNICEF and go see "Lost In Translation," "Mystic River," or "Kill Bill" instead.
    • 24 Metascore
    • 20 Keith Phipps
    Relies on the most time-tested basic moves of farce for laughs that just don't come.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 20 Keith Phipps
    There’s little in Burying The Ex to suggest it’s a Dante movie at all, given how far it’s removed from the smart, exciting films he used to make. Maybe it’s best if everyone just pretends he wasn’t involved.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 26 Metascore
    • 20 Keith Phipps
    This vanity project belongs to an audience of one.
    • 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.

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