For 1,067 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Neil Young: Heart of Gold
Lowest review score: 0 8 Heads in a Duffel Bag
Score distribution:
1067 movie reviews
    • 52 Metascore
    • 60 Keith Phipps
    Its pleasures are familiar and its frightening bits less frightening than before, but Insidious: Chapter 3 still does right by a series that’s served as proof that, in horror, less can be more.
    • 55 Metascore
    • 60 Keith Phipps
    It's a bit more than the film can handle without leaving loose ends dangling, and though it's never preachy, Sayles' political message-sending sometimes comes across too clearly for its own good. He makes valid points, though, particularly when he lets his storytelling do the work for him.
    • 51 Metascore
    • 60 Keith Phipps
    Once it reaches the meat of the story, it seems to lose its confidence.
    • 53 Metascore
    • 60 Keith Phipps
    It looks good. It seems to work. It occasionally coheres into a priceless moment. But in the end, the pieces don't all fit together as they should.
    • 68 Metascore
    • 60 Keith Phipps
    Even if it weren't a remake, The Italian Job would still look startlingly unoriginal, but in a summer that promises plenty of sold-out showings, it could be the season's breakout pretty-okay-second-choice film.
    • 72 Metascore
    • 60 Keith Phipps
    Becomes precisely the sort of film its elements demand. As tearful goodbyes and joyful montage sequences set to lite-jazz saxophoning take over, "neatly winsome" trumps "messy drama" yet again.
    • 52 Metascore
    • 60 Keith Phipps
    The second Pierce Brosnan-fronted James Bond movie settles into the groove of unspectacular convention-adhering that has marked the series for the last couple of decades.
    • 58 Metascore
    • 60 Keith Phipps
    The film never entirely figures out what it wants to do with the myth of the superspy, but at least it has fun along the way.
    • 62 Metascore
    • 60 Keith Phipps
    Its gloomy speculations on the ephemeral nature of art are paradoxically not easily forgotten, and Godard's daring again pays off, or at least comes close enough to get credit for trying.
    • 66 Metascore
    • 60 Keith Phipps
    For a while, it's a dark, insubstantial treat.
    • 61 Metascore
    • 60 Keith Phipps
    Contains enough exciting surf scenes that it could almost get by on visceral thrills alone.
    • 47 Metascore
    • 60 Keith Phipps
    The unimposing Fiennes may not suggest the burly Luther's plain-talking peasant background, but he at least captures the charisma.
    • 73 Metascore
    • 60 Keith Phipps
    Cinematographer Italo Petriccione gives the film a dramatic look, but that never compensates for the lack of actual drama; when so much of the conflict concerns Cristiano's reluctance to betray his father, it might have helped to spend more time on exploring that relationship than on capturing what light looks like when it pours in from a cellar door.
    • 64 Metascore
    • 60 Keith Phipps
    Sure, it quickly turns into a one-note exercise in laughing at the yokels, but at least it has a vision.
    • 46 Metascore
    • 60 Keith Phipps
    Conceptually compelling, but the interest ends there, in part because the humans get squeezed to the margins in favor of pseudo-history and clashing battleaxes.
    • 67 Metascore
    • 60 Keith Phipps
    Garden State coasts on this considerable charm until it hits a brick wall in its final segments.
    • 56 Metascore
    • 60 Keith Phipps
    At times, this makes the film easier to appreciate than it is to watch: The story is perfectly clear, but the film's style takes its cues from the characters' oblique emotions in a way designed to freeze viewers out.
    • 56 Metascore
    • 60 Keith Phipps
    CQ
    It looks great -- thanks in large part to production designer Dean Tavoularis and Wes Anderson cinematographer Robert Yeoman -- but just as importantly, it looks like it's interesting. Ultimately, it's not, but that almost doesn't matter.
    • 71 Metascore
    • 60 Keith Phipps
    The energy never flags, the film conveys a deep love of Brown’s music (which fills almost every scene), and Boseman remains magnetic whether onstage or in quiet moments.
    • 55 Metascore
    • 60 Keith Phipps
    Abril and Banderas are both terrific as the lovers-to-be... Almodóvar makes it easy to root for them to get together and balance each other out, but that means getting past the situation that brought them together in the first place, and the tension makes the movie queasy even when it’s compelling.
    • 48 Metascore
    • 60 Keith Phipps
    The same willingness to plunge into luridness and melodrama allows The Gatekeeper to work as a taut suspense film on its shoestring budget.
    • 61 Metascore
    • 60 Keith Phipps
    Brown probably captures enough to satisfy hardcore enthusiasts, but everyone else might end up wondering why he ignored the glory for the dust.
    • 61 Metascore
    • 60 Keith Phipps
    For all its simple politics, clanging dialogue, and underwritten roles—only Damon’s natural, and deepening, ability to suggest unspoken disappointment gives his character dimension—Elysium works, though never as well as it should.
    • 64 Metascore
    • 60 Keith Phipps
    It’s possible that something’s getting lost in translation, but Demme’s film only occasionally makes it seem like it’s worth the effort for the rest of the world to catch up.
    • 75 Metascore
    • 60 Keith Phipps
    But much of it, like its subject, is so cryptic, distractingly stylish, and impenetrably posed that it's rough going most of the way.
    • 79 Metascore
    • 60 Keith Phipps
    The main problem with Tarzan is its story, which, after a strong start, finds a steady groove and stays with it, offering no particular highs or lows.
    • 61 Metascore
    • 58 Keith Phipps
    The film ultimately feels like a well-trod journey to a familiar destination with not enough wonder along the way.
    • 50 Metascore
    • 58 Keith Phipps
    There really ought to be a lot more movies like Hit & Run, but only if they're just a little bit better.
    • 64 Metascore
    • 58 Keith Phipps
    It's well-acted and strikingly shot, and its depiction of contemporary Spanish squalor is hard to forget, but it never quite reconciles its high-drama situations with its low-key approach. It whispers when it really wants to shout.
    • 51 Metascore
    • 58 Keith Phipps
    The Golden Compass does manage the job of bringing Pullman's world to the screen. With luck, any future entries will try harder to get the job done right.

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