For 995 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Batman Begins
Lowest review score: 0 Kung Pow: Enter the Fist
Score distribution:
995 movie reviews
    • 65 Metascore
    • 75 Keith Phipps
    Ondine looks heavy and it ends up feeling a little slight, but between those two extremes there's a beguiling siren song of a movie about the way the unexpected has a way of intruding on even the most fatalistic lives.
    • 63 Metascore
    • 75 Keith Phipps
    The trouble with the film is that it often feels too respectable for its own good, preserving the facts of yesterday's rebellion while leaving it firmly in the past. Happily, Ginsberg's words still cut recklessly through the years.
    • 51 Metascore
    • 75 Keith Phipps
    The situations sometimes feel contrived, but the characters never do, particularly because Galifianakis remains simultaneously charming and unrelentingly irritating.
    • 67 Metascore
    • 75 Keith Phipps
    It's all so uneasily compelling and quietly moving, it might be too much to ask her to sustain it through the conclusion.
    • 71 Metascore
    • 75 Keith Phipps
    Though Levy's film feels shapeless at times, what it loses in structure, it gains in handheld intimacy, letting viewers get to know the mercurial but fundamentally sweet Pleskun.
    • 65 Metascore
    • 75 Keith Phipps
    Mixing social commentary and black humor with copious amounts of blood and cracking bones, We Are What We Are offers a cannibal's-eye view of Mexico City's seamier side.
    • 49 Metascore
    • 75 Keith Phipps
    Any satirical points about contemporary gender roles get lost in a mad rush through the matriarchy's beautifully realized, Death Star-like gray fortress. It's a fun rush, though, and an intense one, too.
    • 74 Metascore
    • 75 Keith Phipps
    For a while it's the rare film that-in the mold of the first "Matrix" movie and "Inception," although on a more modest scale than either-mixes heady puzzles with gripping suspense.
    • 72 Metascore
    • 75 Keith Phipps
    Its pleasures are borrowed, but durable.
    • 62 Metascore
    • 75 Keith Phipps
    The American romantic comedy has grown distressingly moribund lately, but anyone looking to freshen up the genre a bit need look no further than Michel Leclerc's The Names Of Love.
    • 78 Metascore
    • 75 Keith Phipps
    Focusing the film on Gleeson was certainly the right choice. His performance is equal parts funny and unnerving, and he keeps viewers guessing about what drives the man and what he'll do next.
    • 68 Metascore
    • 75 Keith Phipps
    Wyatt brings a light touch to the potentially grim material - too light when it drops in some groan-inducing references to the original film - but he keeps the action compelling whether focusing on apes as they run amok or as they quietly contemplate their next move.
    • 64 Metascore
    • 75 Keith Phipps
    The film's greatest pleasures come from Noxon's script - which puts the sexual chaos created by Farrell's attractive bloodsucker front and center - and from the performances.
    • 70 Metascore
    • 75 Keith Phipps
    Soderbergh creates an unnerving mosaic from the smaller pieces, a vision of a world that's simultaneously tightly knit, delicately balanced, and prone to breakdown, whether due to disease, bad ideas, or unenlightened self-interest.
    • 51 Metascore
    • 75 Keith Phipps
    Rather than trying to overwhelm viewers by overloading the senses, John Carter's effects strive to create something new using as their foundation a book that's fired imaginations for the past century.
    • 82 Metascore
    • 75 Keith Phipps
    That's a lot for any film to unpack, and "The Last King Of Scotland" director Kevin MacDonald deserves a lot of credit simply for keeping the narrative coherent.
    • 72 Metascore
    • 75 Keith Phipps
    Like "The Girlfriend Experience," Magic Mike doubles as an of-the-moment film about life in a down economy, so much so that it would play like a bait-and-switch if it didn't just as thoroughly deliver as a movie about stripping.
    • 50 Metascore
    • 75 Keith Phipps
    Fortunately, it's funny enough that it doesn't have to be subtle. In fact, subtlety would just get in the way.
    • 58 Metascore
    • 75 Keith Phipps
    In Trouble With The Curve, Eastwood plays a reminder of an older way of doing things, a professional whose likes the world won't see again once he's gone. The role isn't much of a stretch.
    • 66 Metascore
    • 75 Keith Phipps
    While Seven Psychopaths sometimes hits the philosophical shallows, its pleasures still run deep.
    • 55 Metascore
    • 75 Keith Phipps
    Measured scene by scene, the film isn't always successful, and its transcendent moments make it easy to wish it could reach that elevated pitch more often. But Cloud Atlas is the sort of work where the big picture matters more than the details. It's an imperfect film of great daring and tremendous humanity, a work of many stories, but a singular achievement.
    • 86 Metascore
    • 75 Keith Phipps
    Lincoln is built around a magnetic Day-Lewis turn, and the film is a memorable, sometimes stirring look at how even the most righteous bill must struggle, and even cheat, to become a law. It demands a bigger stage than the one it's given here.
    • 45 Metascore
    • 70 Keith Phipps
    The fact that Full Frontal comes together so well removes any doubt that anyone other than a master filmmaker is pulling the strings.
    • 56 Metascore
    • 70 Keith Phipps
    Nature lacks a little of Malkovich's freshness, but that's just about all it lacks.
    • 69 Metascore
    • 70 Keith Phipps
    Unlike in similar past efforts, Sayles never finds a way to bring it all together. Individual moments of considerable impact alternate with stretches that go nowhere.
    • 66 Metascore
    • 70 Keith Phipps
    It may boil down to little more than a minor variation on Four Weddings' formula, but it's an interesting and entertaining one.
    • 63 Metascore
    • 70 Keith Phipps
    Occasionally resembling an episode of Seinfeld taken to the big screen, waydowntown shares that show's ability to mine mundane details for humor, and its Tomorrowland-gone-awry setting provides plenty of raw material.
    • 73 Metascore
    • 70 Keith Phipps
    A lot goes on, and it doesn't always make sense. But the cast embodies Rendell's ability to incorporate shrewd observations on human behavior into the framework of a crime story, and Miller has a great eye for the places on the Paris outskirts where the lives of haves and have-nots intersect.
    • 57 Metascore
    • 70 Keith Phipps
    As pleasant stimulation for the eye and ear, it's two hours of sumptuousness, but anyone looking for more won't find it here.
    • 54 Metascore
    • 70 Keith Phipps
    Twin Dragons is still a Chan film, albeit not a great one. As fans have figured out by now, that goes a long way.