For 1,080 reviews, this critic has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 4.7 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Planet of the Apes
Lowest review score: 0 The Ten Commandments
Score distribution:
1080 movie reviews
    • 47 Metascore
    • 50 Keith Phipps
    The ideal viewer of Accepted probably won't have seen any college comedies before. Or any slobs-vs.-snobs movies like "Caddyshack." For those who have, it's kind of a snore.
    • 64 Metascore
    • 50 Keith Phipps
    As historical speculation, it's clever enough. As a film, it glows with flop-sweat.
    • 62 Metascore
    • 50 Keith Phipps
    It’s nice to see a film unafraid to be quiet and sensitive, but one good gust of coastal breeze would blow this one away.
    • 57 Metascore
    • 50 Keith Phipps
    There’s promising raw material here, particularly in the early scenes. But the film’s second half seems determined to snuff out the promise of its first, making it hard to wish for this incarnation of the character, or any, to have more big-screen adventures.
    • 68 Metascore
    • 50 Keith Phipps
    While watching Gazzara, Huston, Kevin Corrigan, Rosanna Arquette, and others take things two steps beyond over-the-top is inherently compelling, it becomes embarrassing before long.
    • 40 Metascore
    • 50 Keith Phipps
    Romero’s second horror film, made after Night Of The Living Dead, Season Of The Witch looks significantly less impressive than its predecessor. Where Night Of The Living Dead sandwiched some undistinguished, talky bits featuring actors of widely varying skill between the zombie horror, Season Of The Witch is nearly all undistinguished talky bits featuring actors of widely varying skill. Frankly, it’s kind of a slog.
    • 54 Metascore
    • 50 Keith Phipps
    A Time to Kill embodies all that is wrong with Hollywood attempts to address important issues, raising questions of race and justice but refusing to deal with them on anything but the most simplified, manipulative moral terms.
    • 43 Metascore
    • 50 Keith Phipps
    It's unashamedly escapist, but a turn for the serious as The Vow nears the finish line only underscores its essential silliness and what a poor job the film has done making it seem like its characters need each other for reasons beyond looking good together.
    • 64 Metascore
    • 50 Keith Phipps
    After a sentimental opening sequence, he (Kang) scarcely lets the film pause to breathe, which dulls its effectiveness.
    • 36 Metascore
    • 50 Keith Phipps
    Plays like an undeserved victory lap for a series that only limped to the finish line the last time.
    • 55 Metascore
    • 50 Keith Phipps
    The holiday spirit feels real, but the film does not.
    • 61 Metascore
    • 50 Keith Phipps
    Oculus takes a potentially corny premise further than most could, but it keeps stumbling on the possibilities, never quite taking any of them all the way.
    • 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.
    • 65 Metascore
    • 50 Keith Phipps
    It's a daring move, focusing on the isolated splendor and interior dramas, and letting the politics remain at most a distant rumble; Coppola deserves credit for offering a different, and probably truer, perspective on life as a royal. But the perspective rarely lends itself to compelling filmmaking.
    • 73 Metascore
    • 50 Keith Phipps
    The imagery eventually becomes the only reason to keep watching. This is the first of an announced trilogy, but it already feels as long as the 20th century itself.
    • 36 Metascore
    • 50 Keith Phipps
    Even at its best, the film plays like the comedy equivalent of a legacy act reuniting for a tour fueled more by nostalgia and goodwill than inspiration. It’s less sequel than encore, and it’s probably time to turn on the house lights and close this buddy act.
    • 49 Metascore
    • 50 Keith Phipps
    Less a film than a terror delivery system, The Grudge repeatedly shows off Shimizu's technical chops, but never gives viewers a reason to care about or identify with the victims.
    • 42 Metascore
    • 50 Keith Phipps
    Though staged with technical skill and unflinching brutality, it's an awfully familiar-looking slaughter filled with moments on loan from other movies.
    • 57 Metascore
    • 50 Keith Phipps
    Cheers and many happy returns to Garner as she makes her first starring film role. She's the real deal. But jeers to every other aspect of 13 Going On 30.
    • 60 Metascore
    • 50 Keith Phipps
    While Good Ol’ Freda will surely fascinate hardcore Beatles fans, there simply isn’t a feature-length story here.
    • 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.
    • 55 Metascore
    • 50 Keith Phipps
    Directors Jennifer Flackett and Mark Levin deliver some eye-catching fantasy sequences in the early scenes, but the film grows more mundane and the tone more uneven as it goes on.
    • 57 Metascore
    • 50 Keith Phipps
    There’s a wealth of information in My Father And The Man In Black, but Holiff’s directorial choices don’t always help in conveying them.
    • 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.
    • 48 Metascore
    • 50 Keith Phipps
    Ritchie has made a film that's so busy, it starts to become boring.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Keith Phipps
    Whenever it features feet flying through the air, Brick Mansions is a pleasure. Asked to do anything else, it’s one stumble after another.
    • 55 Metascore
    • 50 Keith Phipps
    The monster effects, as designed by Stan Winston, are stunners, but after Twister, it should be obvious that it's not the quality of the effects that matter so much as the quality of the film in which they appear.
    • 68 Metascore
    • 50 Keith Phipps
    An advocacy doc constructed to make a clear political point first and function as a film a distant second.

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