For 1,062 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 3.7 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Hard Eight
Lowest review score: 0 The Last Airbender
Score distribution:
1062 movie reviews
    • 49 Metascore
    • 58 Keith Phipps
    Viewers who dislike movies in which all drama hinges on one character withholding information from another for no reason beyond the need to keep the plot chugging along should stay far away from People Like Us. The film does have its charms, but getting to them means seeing past a Buick-sized contrivance.
    • 47 Metascore
    • 58 Keith Phipps
    The Odd Life Of Timothy Green attempts to stage a modern fairy tale in Middle America. But in spite of an abundance of earnestness, the pixie dust needed to create magic remains out of the film's reach.
    • 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.
    • 35 Metascore
    • 58 Keith Phipps
    Halloween II provides ample spotlights for Zombie’s visual gifts, but—apart from some striking Oedipal fantasy sequences featuring Sheri Moon Zombie as the spirit of Myers’ mother—we saw most of this last time around, and a lot of promising material leads to dead ends.
    • 37 Metascore
    • 50 Keith Phipps
    Company almost seems like the product of a post-Sept. 11 world. Like a cartoon version of a real threat, the villains are terrorists of a non-specific nationality with an ill-defined anti-American agenda and a tendency to spout complaints too clichéd to take seriously.
    • 51 Metascore
    • 50 Keith Phipps
    In the end, it becomes the cinematic equivalent of one of the songs Tunney adores: enjoyable enough while it lasts, but so thin that its ingratiating charms seem as much a source of frustration as pleasure.
    • 58 Metascore
    • 50 Keith Phipps
    Shaw and Kingsley both create crisp, comic performances, but Sorvino remains a problem throughout. Her physical transformation falls short of the "Boys Don't Cry" standard, to put it mildly.
    • 36 Metascore
    • 50 Keith Phipps
    Hartley's most ambitious film, but it's also among his most uneven, shifting away at moments when its characters should be allowed to connect, underemphasizing some themes, overemphasizing others, and letting a general clash of ideas stand in for momentum.
    • 65 Metascore
    • 50 Keith Phipps
    The characters are funny and the cast's characterizations right on, but the movie repeatedly lets them down.
    • 53 Metascore
    • 50 Keith Phipps
    Ultimately, writer-director Joseph Cedar has created a film that resembles a subtitled very special episode of "JAG."
    • 48 Metascore
    • 50 Keith Phipps
    Tries for that series' breezy matinee atmosphere but the results turn out far too forced.
    • 50 Metascore
    • 50 Keith Phipps
    A situation of such inherent drama only suffers from the director's attempts to intensify it, and eventually, the scenes of professional and personal rejection begin to suffer from an overabundance of pathos.
    • 54 Metascore
    • 50 Keith Phipps
    It works for a little while, but an Irons-narrated slideshow of the region would have worked just as well.
    • 51 Metascore
    • 50 Keith Phipps
    If its star were more consistently funny, it might have worked, but the film opens with a string of dreadful Sept. 11 gags and takes a while to recover.
    • 27 Metascore
    • 50 Keith Phipps
    Over in a breeze, padded out by a generous collection of outtakes, and filled with characters who disappear virtually unnoticed, View is an inoffensive comedy that feels like the victim of too much fiddling.
    • 53 Metascore
    • 50 Keith Phipps
    Milos and Rossum are like Iberian "Gilmore Girls," only with an ocean view and without the clever dialogue.
    • 38 Metascore
    • 50 Keith Phipps
    Though haphazardly put together, The Medallion stays fairly entertaining until it kills Chan off and resurrects him as an immortal being.
    • 24 Metascore
    • 50 Keith Phipps
    The film owes as much to Caddyshack as to Capra.
    • 53 Metascore
    • 50 Keith Phipps
    As a nail-biting thriller, The Siege is too confusing, and as a thought-provoking social drama, too confused.
    • 71 Metascore
    • 50 Keith Phipps
    Skillfully sketches the parameters of its small-town existence but never quite fleshes out the inhabitants of those parameters. Without the well-considered humor and strongly defined characters of "Chuck," only a good cast stands between Girl and some familiar stereotypes.
    • 71 Metascore
    • 50 Keith Phipps
    One of the not-so-nice qualities of Real Women Have Curves is that it occasionally is as preachy as its title suggests.
    • 52 Metascore
    • 50 Keith Phipps
    Director Blair Treu hails from Brigham Young University, and while there's nothing explicitly religious about Little Secrets, his primary influence seems to be those LDS public-service announcements in which nice people learn to become even nicer.
    • 52 Metascore
    • 50 Keith Phipps
    For a film that depends so much on the interaction between words and passion -- and the drama of how each shapes the other -- the shortage of both leaves Possession looking like nothing more than an "Indiana Jones" in which card catalogs stand in for treasure maps, and footnotes for bullwhips.
    • 56 Metascore
    • 50 Keith Phipps
    The many shots of characters operating devices with remote controls will do little to quiet the complaints that the films have started to resemble video games, and the same can be said of the proliferating digital effects.
    • 54 Metascore
    • 50 Keith Phipps
    Though The Bread, My Sweet is never even a little bit better than this description makes it sound, writer-director Melissa Martin's stagy, unattractive-looking film should at least get credit for going all the way with its manipulation.
    • 46 Metascore
    • 50 Keith Phipps
    The best thing about the movie is its premise: It's a good idea, taken from before Allen's recent losing streak, but it's stretched too thin for its own good.
    • 64 Metascore
    • 50 Keith Phipps
    Fortunately, no one seems to have clued Bardem in on the game plan, and the fierceness and complexity he brings to his role nearly saves Mondays In The Sun.
    • 53 Metascore
    • 50 Keith Phipps
    The film de-emphasizes plot and action in favor of lyricism and outbursts of magic-doing, but the results are more dull than enchanting, no matter how many people fly across the room.
    • 67 Metascore
    • 50 Keith Phipps
    Turns a fond look back at the great Federico Fellini into an occasion for the kind of talky tedium Fellini's own movies would never have allowed.
    • 52 Metascore
    • 50 Keith Phipps
    It's handsomely mounted, and its heart seems in the right place, but that's not reason enough to put on a show.

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