For 1,099 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 4.5 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 American Graffiti
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
1099 movie reviews
    • 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 MichĂ´d 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.
    • 76 Metascore
    • 80 Keith Phipps
    Mixing horror and humor is no mean feat, but Shaun Of The Dead tightens throats in fear without making the laughs stick there in the process.
    • 72 Metascore
    • 80 Keith Phipps
    Webber displays a great sense of understatement and a keen eye for careful framing, with cinematographer Eduardo Serra beautifully re-creating Vermeer's signature play of shadow and light.
    • 65 Metascore
    • 80 Keith Phipps
    Ali
    Ali becomes less the story of a boxer than the story of one man hanging onto his soul. With so many wrong ways to dramatize that process, Mann's approach seems all the more right.
    • 61 Metascore
    • 80 Keith Phipps
    A funny, tightly plotted, well-conceived comedy that transcends both Crystal's '90s curse and its horrible title.
    • 73 Metascore
    • 80 Keith Phipps
    When it's on its game, and it frequently is, South Park's portrayal of its foul-mouthed, pre-teen, construction-paper-like protagonists' navigation of the absurd adult world around them cuts as deeply as any other current comedy.
    • 91 Metascore
    • 80 Keith Phipps
    Director Zacharias Kunuk captures that feeling well, but he never quite develops it into a theme epic enough to fill Atanarjuat's scope. His film is by turns mesmerizing and trying, with enough of the former to make the latter worthwhile.
    • 76 Metascore
    • 80 Keith Phipps
    It finds no clear answers, but that suits both the horrific event and this haunting, elusive film.
    • 77 Metascore
    • 80 Keith Phipps
    In some respects a less tidy film than before, particularly when it veers off into a subplot involving a Nazi soldier played by Siegfried Rauch, the new cut mostly retains the original's virtues while adding details and episodes that make it more recognizably a Fuller film.
    • 68 Metascore
    • 80 Keith Phipps
    Directed with depth, efficiency, and wit by Bryan Singer, the film suffered only from a tendency to seem like a setup for an even bigger movie...Fortunately, bigger usually equals better here, and when it doesn't, it equals just as good.
    • 83 Metascore
    • 80 Keith Phipps
    Were he only trying to remark on that world's creepiness, Cronenberg would still succeed brilliantly, if coldly, but his sympathy makes the film.
    • 73 Metascore
    • 80 Keith Phipps
    Shooting in dreamy black and white, Stuhr finds quiet poetry in shots of his character wandering the countryside with his new friend, and deadpan comedy in scenes of the camel patiently watching his new owners eat dinner, his head filling a window frame as he waits for scraps.
    • 84 Metascore
    • 80 Keith Phipps
    Evans is a revelation here, delivering a haunted performance that his previous work has only suggested he had in him. He gives the film a solid center, allowing others in the cast to explore the extreme.
    • 75 Metascore
    • 80 Keith Phipps
    MC5's mix of showmanship, hippie idealism, and brawling Detroit muscle makes it tough to categorize, and A True Testimonial carefully moves through each step of the progression.
    • 78 Metascore
    • 80 Keith Phipps
    Why it works is anyone's guess. It's fair to argue--and the film makes this argument itself, with no great subtlety--that Godzilla embodies Japan's nuclear anxieties in the aftermath of Hiroshima and Nagasaki.
    • 76 Metascore
    • 80 Keith Phipps
    Carpenter's grittily convincing New York-in-decay remains the film's best element. Never particularly suspenseful and hampered by a finale that almost literally steers the plot toward a dead end, Escape only intermittently finds Carpenter flexing his directorial muscles. But it may be his most visionary film: Escape allowed him to build a future out of scraps from the past.
    • 67 Metascore
    • 80 Keith Phipps
    It's important for the film to establish the concentration camp as a hell on earth from the start, but Schlöndorff has more in mind than creating another reminder of the inhumanity of fascism.
    • 70 Metascore
    • 80 Keith Phipps
    One the truest-feeling political portraits in years, as well as a fine piece of drama.
    • 70 Metascore
    • 80 Keith Phipps
    Using a single set for each act and cutting minimally, Jacquot seems to recognize his limited ability to make the opera cinematic.
    • 82 Metascore
    • 80 Keith Phipps
    Pawlikowski's off-balance compositions and affection for odd close-ups suggest the influence of Wong Kar-Wai, but the film's low-key observational spirit owes as much to Mike Leigh.
    • 59 Metascore
    • 80 Keith Phipps
    While director Joe Mantello (who also helmed the stage production) often uses the opened-up space of the movie well, he doesn't always avoid some of the common pitfalls that come with adapting plays.
    • 57 Metascore
    • 80 Keith Phipps
    Filled with video-game in-jokes, Spy Kids 3 comes roaring to life in action scenes based on different gaming genres, each of which takes full advantage of the 3-D effects.
    • 78 Metascore
    • 80 Keith Phipps
    Mostly content to observe with wary admiration, the film doesn't offer any answers, and life robs the story of any sort of resolution, leaving only footage of one remarkable example of charity in action.
    • 76 Metascore
    • 80 Keith Phipps
    Gaghan brings in many more players, but edits the film into the lean, propulsive shape of a thriller. That ends up being something of a problem; some sub-plots never fully untangle and characters get lost as Gaghan rushes toward a conclusion that, taken on its own, is the stuff of a slightly hysterical leftie pamphlet.

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