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 Planet of the Apes
Lowest review score: 0 The Ten Commandments
Score distribution:
1080 movie reviews
    • 81 Metascore
    • 80 Keith Phipps
    McCarthy's characters make for good company even in their story's awkward patches, and in a film so unabashedly about the value of friendship, good company goes a long way.
    • 51 Metascore
    • 80 Keith Phipps
    Well matched both to the material and each other, Cage and Beach capture Windtalkers' true struggle, the fight to hold on to values like honor, friendship, and tenderness in an environment that demands otherwise. This is as much a Woo trademark as the carefully orchestrated gunplay.
    • 73 Metascore
    • 80 Keith Phipps
    Big
    It’s a funny, bittersweet film that opens as a cautionary tale about growing up too fast, but deepens into a movie about the unplumbable gulf between childhood and adulthood, and what it feels like to stand on either side, wishing for a way over.
    • 77 Metascore
    • 80 Keith Phipps
    A sight worth seeing.
    • 83 Metascore
    • 80 Keith Phipps
    Alternating interviews, observational passages, and conversations with past students, Hawke’s low-key film never pushes too hard for effect and lets any drama emerge slowly.
    • 66 Metascore
    • 80 Keith Phipps
    It accumulates weight as it goes along, ultimately becoming as thoughtful and emotionally involving as it is beautiful to behold.
    • 73 Metascore
    • 80 Keith Phipps
    It should be a personal triumph or a personal tragedy, but it's neither: just another moment between curtain-rise and curtain-fall in the glorious business of creating beauty.
    • 87 Metascore
    • 80 Keith Phipps
    It allows Lee to draw out a theme that's been present in his films from the start: the notion that repressed passion does no one any good. In Brokeback Mountain, it turns vibrant men ghostly.
    • 78 Metascore
    • 80 Keith Phipps
    Just as memorable and emotionally intense as any of Wong's films. It's a mood as much as a movie.
    • 62 Metascore
    • 80 Keith Phipps
    Ramis is at his best when dealing with men facing a soul-defining crisis, and he finds plenty to work with in Russo and Benton's script, which offers Russo's trademark blend of colorful characters and slow-building dilemmas. The Ice Harvest finds them all operating in top form in as dark a territory as they've ever explored.
    • 75 Metascore
    • 80 Keith Phipps
    A winning mix of humor and poignant character examination, and a satisfying film.
    • 51 Metascore
    • 75 Keith Phipps
    Williams delivers a solid, twinkle-free (though closed-off) performance, but the film as a whole can't decide what it wants to be.
    • 64 Metascore
    • 75 Keith Phipps
    Mol nails it, in a performance that should earn her a comeback on a Heath Ledger-like scale.
    • 65 Metascore
    • 75 Keith Phipps
    Salt's mechanical command of action is what makes it one of the most entertaining films of a summer thin on its once-abundant variety of cheap thrills.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 75 Keith Phipps
    Its pleasures are borrowed, but durable.
    • 68 Metascore
    • 75 Keith Phipps
    Director Lian Lunson keeps the tone reverent, making I'm Your Man the cinematic equivalent of a testimonial dinner. But there's a place for that kind of film, particularly for subjects who've earned it.
    • 66 Metascore
    • 75 Keith Phipps
    It’s a brisk, bright, winning effort, even though it already looks sadly out of touch with the times.
    • 74 Metascore
    • 75 Keith Phipps
    It’s a simplistic, superficial approach to a real-life story that marginalizes most historical details not involving scrums and tackles. It’s also pretty effective, in spite of the gloss.
    • 64 Metascore
    • 75 Keith Phipps
    Garcia shoots Mother And Child with minimal flare, an approach that keeps the focus squarely on the cast, whose moving work helps pave over some of the narrative’s lumpier patches.
    • 63 Metascore
    • 75 Keith Phipps
    This feels like a second-shelf Coen comedy, particularly when compared to their no-less-shaggy "The Big Lebowski."
    • 72 Metascore
    • 75 Keith Phipps
    Eastwood directs with his usual relaxed pace and bursts of intensity, a style that's pleasing to watch--and which, also as usual, never fully compensates for any shortcomings of the script handed to him.
    • 57 Metascore
    • 75 Keith Phipps
    This is very much a Sherlock Holmes movie for the blockbuster era.
    • 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.
    • 65 Metascore
    • 75 Keith Phipps
    As with her debut feature, "Blue Car," Moncrieff treats sensational material with a disarming matter-of-factness that ultimately makes a deeper impression.
    • 65 Metascore
    • 75 Keith Phipps
    In the end, it's all a bit too self-consciously mysterious and Lawrence leans a bit too much on the atmosphere to do the work for him as he builds to a frustrating ending. But his vision of a place haunted by a restlessness it can't define proves unsettlingly infectious.
    • 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.

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