For 1,064 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 4.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Dark Knight
Lowest review score: 0 8 Heads in a Duffel Bag
Score distribution:
1064 movie reviews
    • 73 Metascore
    • 80 Keith Phipps
    When the credits roll and the mood breaks, Japanese Story finally reveals itself as more dewy-eyed than deep, but as long as the mood holds, it holds fast.
    • 89 Metascore
    • 80 Keith Phipps
    As specific as the film is to Italy at the turn of the turbulent 1970s, it’s also a film about how power first corrupts, then makes mad those who possess it.
    • 87 Metascore
    • 80 Keith Phipps
    An early shot of two turtles crawling through the classroom establishes the film's deliberate pace, and To Be And To Have benefits from the care.
    • 81 Metascore
    • 80 Keith Phipps
    Now an invaluable time capsule, the film has to transcend its own conceptual messiness.
    • 56 Metascore
    • 80 Keith Phipps
    Already as dark as London soot, the comedy hardly needed work to bring it in line with the Coen brothers' sensibility, but the remake moves to a beat of its own, one unexpectedly in sync with the gospel music dominating its soundtrack.
    • 73 Metascore
    • 80 Keith Phipps
    With its sharp wit and its portrayal of how broken families sometimes fit back together, Lilo would make a fine summer double feature alongside "About A Boy," another film that stays funny while dancing around a tiny abyss.
    • 80 Metascore
    • 80 Keith Phipps
    "I knew the children here had something to say," Goldberg says in voiceover early in the film. That statement may sound slightly maudlin, but the film that follows is anything but.
    • 69 Metascore
    • 80 Keith Phipps
    Jeong's movie is at its best when it forgets about everything but the interactions of its cast, whether they're together or communicating via one of Cat's cleverly orchestrated cell-phone scenes.
    • 87 Metascore
    • 80 Keith Phipps
    Herzog is still the only person who could have made Grizzly Man. His admiration for Treadwell has its limits, but he understands, better than most directors, what it means to follow dreams into the belly of the beast.
    • 82 Metascore
    • 80 Keith Phipps
    It could all be done much more efficiently, but any other approach would lose Tsai's unique mix of stone-faced comedy and dewy-eyed lyricism.
    • 50 Metascore
    • 80 Keith Phipps
    An oddly effective mixture of technical prowess, well-executed cliché, and unexpected political poignancy.
    • 85 Metascore
    • 80 Keith Phipps
    Turtles Can Fly creates a haunting reminder that collateral damage can't always be measured in casualty rates, and that it goes on long after the news cameras have left the scene.
    • 51 Metascore
    • 80 Keith Phipps
    Nicole Kidman -- continuing the string of remarkable performances that have followed "Eyes Wide Shut" -- finds plenty of fodder in the long-delayed Birthday Girl. A grimy thriller with a wicked streak of humor.
    • 87 Metascore
    • 80 Keith Phipps
    Delivers the goods, if the goods you're in the market for happen to be a clever romance concerning William Shakespeare that's unlikely to cause anyone to reassess their notions of Shakespeare, romance, or enjoyment.
    • 74 Metascore
    • 80 Keith Phipps
    Investing a lot of time on each corner of his three-sided character piece, director Ira Sachs (who co-wrote the film with Michael Rohatyn) has created a film as dramatically intense as it is opaque.
    • 57 Metascore
    • 80 Keith Phipps
    It's impossible not to admire what, apart from "Crouching Tiger, Hidden Dragon," may be the most ambitious action film since "The Matrix."
    • 62 Metascore
    • 80 Keith Phipps
    In the end, the camper-lot prostitution serves as trapping for a weirdly touching coming-of-age film that leaves its heroine sadder but wiser.
    • 57 Metascore
    • 80 Keith Phipps
    As a marriage of big-budget filmmaking and old-fashioned scare tactics, it easily ranks alongside last year's "The Others."
    • 83 Metascore
    • 80 Keith Phipps
    Effective as a drama as it spirals Golbahari deeper into her nightmarish world, Osama is similarly powerful as a fictionalized account of the Taliban's obscene wish for a world where the stringent enforcement of religious laws took the place of instinctual human kindness.
    • 83 Metascore
    • 80 Keith Phipps
    For a film that clearly required a small army to make, it often feels thrillingly off-the-cuff, which keeps with The Lego Movie’s themes of creativity and weirdness: Nobody’s following an instruction book with this one.
    • 78 Metascore
    • 80 Keith Phipps
    For all the memorable dialogue and elegant camerawork (courtesy of Javier Aguirresarobe), it’s Blanchett’s movie, and her performance tells yet another story, that of a woman losing control.
    • 69 Metascore
    • 80 Keith Phipps
    However complicated the historical issues at play, the poetic introspection that consumes The New World's characters could only take place in a Terrence Malick movie. But, here at least, history and lyrical drift go together surprisingly well.
    • 71 Metascore
    • 80 Keith Phipps
    The satire is headline-fresh, the action scenes keep pace with summer blockbusters, and no one shoots an evisceration with as much skill.
    • 66 Metascore
    • 80 Keith Phipps
    Some of the points seem too easy, some of the revelations practically announce themselves in advance, and there's never any sense of excitement or suspense as to where the whole thing is heading. But it still works, most of the time.
    • 78 Metascore
    • 80 Keith Phipps
    Fontaine gives her film the tone of a psychological thriller, with the potential of violence always lurking beneath the surface.
    • 81 Metascore
    • 80 Keith Phipps
    A truly scary horror film, something akin to a lost art these days.
    • 73 Metascore
    • 80 Keith Phipps
    The Wings Of The Dove is thought-provoking in a full and lasting sense; it'll stay with you long after its dubious final scene.
    • 70 Metascore
    • 80 Keith Phipps
    Swimming Pool returns Ozon to the psychological complexities of "Under The Sand" and his early mini-feature "See The Sea," and he again proves himself a master of building shocking moments from a series of seemingly insignificant gestures and throwaway lines.
    • 52 Metascore
    • 80 Keith Phipps
    May register most immediately as a snappy whirl of visual gags, double entendres, overheated romance, and comically oversized living quarters, but beneath the exuberance of this fond counterfeit is a heartbeat as powerful as that of any film anchored in the present.
    • 85 Metascore
    • 80 Keith Phipps
    Amy
    She was, the documentary argues, a complex artist, one of awe-inspiring talent and many frustrating contradictions, and one who deserved better than to become just another punchline on her way to the grave. Kapadia provides a heartbreaking reminder of what we lost when we lost her.

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