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 4.6 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 Jonah Hex
Score distribution:
1080 movie reviews
    • 27 Metascore
    • 50 Keith Phipps
    It's virtually indiscernible from any other contemporary horror film except for, well, the fog.
    • 61 Metascore
    • 50 Keith Phipps
    Though star-packed to the point of absurdity--juror Luis Guzmán has little to do but nod his head every once in a while--The Runaway Jury doesn't know what to do with its players.
    • 72 Metascore
    • 50 Keith Phipps
    A lesser filmmaker, and a lesser actor, might have made American Sniper into an unthinking bit of jingoism. Eastwood and Cooper keep finding respectful complexities in Kyle’s story, until the film reveals itself as too simple to have much use for them.
    • 59 Metascore
    • 50 Keith Phipps
    The first time around, Wall Street felt like a warning about the perils of excess just as excess started to exact its toll. This one's little more than a reminder that we all got, and remain, screwed. Noted.
    • 59 Metascore
    • 50 Keith Phipps
    The perfect movie for 14-year-old girls having a slumber party, and a must for everyone else to avoid.
    • 42 Metascore
    • 50 Keith Phipps
    Better than an opportunistic sequel has any right to be, but still pretty flawed.
    • 43 Metascore
    • 50 Keith Phipps
    There's nothing wrong with formulas when they work, but Eternal is neither scary nor particularly sexy.
    • 63 Metascore
    • 50 Keith Phipps
    Trouble is, the gags just keep finding new ways to make McBride's strip-mall sensei seem pathetic, and the few scattered laughs never justify the cruelty.
    • 47 Metascore
    • 50 Keith Phipps
    Somehow, Van Sant has made a film about life and death in which the stakes never seem higher than whether one insolent kid will stop being such a horrible mope.
    • 55 Metascore
    • 50 Keith Phipps
    Mostly, Dodgeball just feels off--never consistently funny, but also never dire. It's as if Thurber resigned himself to making a dumb, formula-bound movie with a dusting of smart gags instead of a smart movie in dumb-movie clothes.
    • 53 Metascore
    • 50 Keith Phipps
    Jon Cryer and Leslie Mann have a couple of sly moments as overworked career people, and Spader again proves he learned a lot by working with William Shatner for so long. But the bottomless slapstick and silly effects quickly grow wearying, as does a cast of young actors whose work can politely be called energetic.
    • 49 Metascore
    • 50 Keith Phipps
    It's corny, but the film might have worked anyway, had anyone brought a lick of conviction to the business. But Lopez--once such a promising actress--now does little but pose, and everyone else seems to have figured out that the film wasn't going anywhere before the cameras started rolling.
    • 47 Metascore
    • 50 Keith Phipps
    Egoyan's sensibility doesn't quite fit the material. His trademark stone-faced austerity never bends to capture the black comedy in the dissonance between his characters' public and private lives. It almost demands a trashier approach.
    • 54 Metascore
    • 50 Keith Phipps
    Director Mark Waters has done probably the best possible job translating the material to film, and the truly filmic moments work well, but with this dialogue-heavy material, it's like trying to translate Run-DMC lyrics into Old French.
    • 55 Metascore
    • 50 Keith Phipps
    Corny and uncool. Initially, it doesn't matter. Banderas is so winning in the lead that the film's early scenes are almost as persuasive as one of his lectures.
    • 45 Metascore
    • 50 Keith Phipps
    Even more sad is an embarrassingly shrill performance by Faye Dunaway, and an ending which insults the ability of the audience to watch a movie without having a conclusion spoon-fed to them.
    • 58 Metascore
    • 50 Keith Phipps
    As Pattinson nears the bottom - both of his fortune, and to all appearances, his sanity - Cronenberg has to take the film somewhere, emptying out into a confrontation between Pattinson and a disgruntled former employee (Paul Giamatti) that never fully ties together all that's come before.
    • 45 Metascore
    • 50 Keith Phipps
    Sadly, only Hurt seems to recognize that the only way to make this material work is to play it with lunatic enthusiasm instead of grave seriousness.
    • 50 Metascore
    • 50 Keith Phipps
    If well done, a film like Letters To Juliet should need no surprises. But it does need more than the postcard-ready vistas against which director Gary Winick (13 Going On 30) frames much of the action.
    • 54 Metascore
    • 50 Keith Phipps
    The film spends so little time developing its characters, apart from all that expository dialogue, that it's like asking audiences to care for paper dolls. And Sparkle never delivers on the promise of its most famous song by giving viewers something they can feel.
    • 53 Metascore
    • 50 Keith Phipps
    While Bachelorette is admirably free of the normal formulas governing movies that revolve around women and wedding dresses, it doesn't offer anything more satisfying in their stead.
    • 36 Metascore
    • 50 Keith Phipps
    Russell Brand steps into the role of Arthur Bach for the 2011 remake, and while it's one of the more reined-in performances of his short, busy big-screen career, Brand's unvarying onscreen persona just doesn't do soulful.
    • 39 Metascore
    • 50 Keith Phipps
    Director Jeff Wadlow and his co-writer/producer Beau Bauman throw in a couple of gripping sequences, especially one set in a library sub-basement with an energy-saving lighting system, but for a film that's essentially one big logic problem, there's an unfortunate absence of logic to the way its characters behave.
    • 53 Metascore
    • 50 Keith Phipps
    Milos and Rossum are like Iberian "Gilmore Girls," only with an ocean view and without the clever dialogue.
    • 54 Metascore
    • 50 Keith Phipps
    It finds some fine comedic moments when it stops focusing on Affleck's never-ending angst and starts exploring small-town oddness.
    • 62 Metascore
    • 50 Keith Phipps
    Sometimes actors get parts so rich that they almost can't help but make meals of them. Playing a frosty, high-powered editor in The Devil Wears Prada, Meryl Streep turns the role into a four-course dinner and shows up with her own dessert...But it's hard to care about what's going on whenever she's offscreen.
    • 54 Metascore
    • 50 Keith Phipps
    It’s a painfully minor movie that doubles as an accidental study in how pros handle themselves when given less-than-challenging material.
    • 54 Metascore
    • 50 Keith Phipps
    The film has virtually nothing to say about the man, or about much of anything, really. It's a sketchbook trying to pass as a tapestry.
    • 36 Metascore
    • 50 Keith Phipps
    In spite of some prominently featured green slime and power-beam weaponry, it won't make anyone forget "Ghostbusters" anytime soon.
    • 60 Metascore
    • 50 Keith Phipps
    Kids won't mind a bit, but adults accustomed to "Shrek" and Pixar will have no trouble spotting what's missing.

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