For 1,083 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 City of God
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
1083 movie reviews
    • 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.
    • 66 Metascore
    • 80 Keith Phipps
    While most literary adaptations look flat and pretty, the fine performances here set Emma apart.
    • 87 Metascore
    • 80 Keith Phipps
    Memorable, deeply affecting movie.
    • 78 Metascore
    • 80 Keith Phipps
    It's funny, too, though marked by an uneasy humor that's usually difficult to achieve. Anderson handles it with expert ease: At this point in his career, he moves the camera like a skilled dance partner, investing the smallest gesture with significance.
    • 64 Metascore
    • 80 Keith Phipps
    A deft, three-dimensional performance from Dern, playing an almost entirely unlikable character, aids incalculably in exposing what happens when political factions lose touch with the realities of the issues for which they claim to provide answers.
    • 80 Metascore
    • 80 Keith Phipps
    Where Noyce could easily have given Branagh a mustache and tilted the film toward old-fashioned melodrama, he leans on tactics that are less obvious and more effective.
    • 61 Metascore
    • 80 Keith Phipps
    It only takes rat trainers and CGI artists to create swarms of vermin, but it takes a twisted kind of genius to treat them as equals.
    • 76 Metascore
    • 80 Keith Phipps
    Gunn, a B-movie enthusiast who got his start at Troma, has found a way to bring funkiness and humanity to a galaxy-spanning blockbuster, one filled with dogfights and floating fortresses, but also with heroes quick with a quip, fast on the draw, and more than a little beaten up by the universe.
    • 68 Metascore
    • 80 Keith Phipps
    Martin touches on any number of post-Vietnam ills (urban decay, drug addiction, crises in faith) without overstatement, allowing for a deeply considered exploration of horror's ability to comment on society, a sort of belated answer to Peter Bogdanovich's Targets. At the same time, Romero still forces Martin to work as strictly a horror film, albeit an eccentric one in which the violence has an uncomfortable plausibility, starkly contrasting Amplas' romanticized black-and-white vampiric fantasy life.
    • 64 Metascore
    • 80 Keith Phipps
    Cop Land emerges as a first-rate morality play in the form of an effective, if occasionally unwieldy, crime drama.
    • 68 Metascore
    • 80 Keith Phipps
    "Adolesence can kill you," Birot has said in an interview. In a film that leaves the "you" intentionally vague, moment after moment she shows how.
    • 65 Metascore
    • 80 Keith Phipps
    As the film goes along, themes and even lines of dialogue resurface, and Jarmusch's comic sensibilities grow more assured.
    • 79 Metascore
    • 80 Keith Phipps
    Yet for all the heady ideas at play, Dawn Of The Planet Of The Apes remains a visceral film, one of movement, action, unexpected developments, and disarming poignance.
    • 82 Metascore
    • 80 Keith Phipps
    Most importantly, the director, script, and cast (rounded out by Judi Dench and well-placed imports Donald Sutherland and Jena Malone) all recognize that Austen is about much more than pretty costumes and knowing looks.
    • 66 Metascore
    • 80 Keith Phipps
    Whedon’s handling of the personal material is what makes Age Of Ultron extraordinary. Remarkably for a film so overstuffed, no character gets neglected.
    • 82 Metascore
    • 80 Keith Phipps
    Neither Molina nor Lithgow are stranger to big performances, but here, they offer studies in restraint, underplaying dramatic moments in ways that make them all the more powerful.
    • 78 Metascore
    • 80 Keith Phipps
    The film offers a rare and fascinating firsthand look at two sides of the modern immigrant experience.
    • 74 Metascore
    • 80 Keith Phipps
    Rossi (who is handicapped himself) gives the film a magnetic presence, playing the part as a mix of sweet-natured good intentions and frustrating limitations.
    • 82 Metascore
    • 80 Keith Phipps
    For as long as director and co-writer Jacques Audiard focuses on the central relationship, his stylish film stays on steady footing.
    • 64 Metascore
    • 80 Keith Phipps
    While Michôd never satisfactorily develops the central relationship, The Rover is still a showcase for two strong performances.
    • The Dissolve
    • 90 Metascore
    • 80 Keith Phipps
    What's more impressive, and in the end more important, is the high standard of storytelling that Pixar continues to meet by locating both humor and emotional depth in worlds created out of lines of code.
    • 69 Metascore
    • 80 Keith Phipps
    Out of that clever setup, Changing Lanes pulls both the promised taut suspense and a much deeper film: an ethics thriller.
    • 85 Metascore
    • 80 Keith Phipps
    A funny, unexpectedly inspiring story of excess, poor choices, and unwavering high-mindedness, all tied to that quintessential bit of rock wisdom: Icarus did fall, but first he flew.
    • 74 Metascore
    • 80 Keith Phipps
    Sound effects, disorienting camera work, expert editing, and Humphrey Searle's discomfiting score all suggest, without showing, a horrible presence waiting in the wings. Though parts of The Haunting are talky, even that works in the film's favor, as Tamblyn's glib dismissals and Johnson's calm professorial tone are unable to clear up the mystery at its core. After all, the specters that can't be seen, classified, or otherwise contained are the scariest of all.
    • 61 Metascore
    • 80 Keith Phipps
    Hoffman (Soapdish, One Fine Day) leads a first-rate cast in an intelligent, fully realized adaptation of Shakespeare's most popular comedy that's at once highly cinematic and true to its source.

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