For 1,011 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 2.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,011 movie reviews
    • 68 Metascore
    • 30 Keith Phipps
    A mud bath of sentiment, strained speechifying, and gloppy music.
    • 68 Metascore
    • 30 Keith Phipps
    The best that can be said of Son Of The Bride is that it's attractively photographed. But, then, so was the Hindenburg explosion, and this packs far less excitement into its two shapeless hours.
    • 67 Metascore
    • 10 Keith Phipps
    Tough to respect a documentary that doesn't play fair. Anyone interested in the subject would be better off spending Life And Debt's torturous 80-minute running time with a good article on the topic.
    • 66 Metascore
    • 10 Keith Phipps
    It's... directed by Andy Tennant ("It Takes Two") with all the flair of an episode of "7th Heaven", making it that much more worth avoiding.
    • 65 Metascore
    • 30 Keith Phipps
    Through it all, Muccino piles on one shrill confrontation after another. At times, he seems headed for the melodramatic turf owned and operated by Pedro Almodóvar, but where the young Almodóvar would have deployed a prankish wit and the older Almodóvar scraped toward the humanity beneath.
    • 63 Metascore
    • 20 Keith Phipps
    There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
    • 59 Metascore
    • 30 Keith Phipps
    Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose.
    • 59 Metascore
    • 33 Keith Phipps
    Dredd, a second attempt at making Judge Dredd a movie star, overcorrects, veering in the opposite direction with a dark - literally and otherwise - nearly humorless bit of ultraviolence distinguished largely by a fondness for spurting CGI blood.
    • 57 Metascore
    • 20 Keith Phipps
    Beloved has an almost gut-wrenching quality to it. But the same can't be said for the movie overall--it's a noble, ambitious failure, but a failure nonetheless.
    • 56 Metascore
    • 33 Keith Phipps
    Maher's too smart to make a movie this dumb.
    • 56 Metascore
    • 30 Keith Phipps
    Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.
    • 54 Metascore
    • 30 Keith Phipps
    Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
    • 54 Metascore
    • 33 Keith Phipps
    This isn’t a movie. It’s a MySpace page.
    • 53 Metascore
    • 30 Keith Phipps
    What a shame that The Hunting Of The President feels like part of the problem.
    • 51 Metascore
    • 30 Keith Phipps
    McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
    • 50 Metascore
    • 33 Keith Phipps
    It's as dull as it is brainless, the work of creators who've spent far more time concocting silly stories about Shakespeare than learning from him.
    • 50 Metascore
    • 10 Keith Phipps
    A conclusion featuring a dizzying string of betrayals that leads to a confusing anti-climax robs the film of even cheap action thrills, making Hoodlum an almost thoroughly forgettable experience, albeit probably the only film in history to unite Queen Latifah and The Mod Squad's Clarence Williams III.
    • 49 Metascore
    • 25 Keith Phipps
    2012 is ultimately only about finding new ways to topple monoliths. Only they don’t feel that new.
    • 49 Metascore
    • 30 Keith Phipps
    The junk-shop surrealism ultimately gets the better of everyone's good intentions.
    • 49 Metascore
    • 33 Keith Phipps
    No one makes it out of this laughless mess unscathed.
    • 49 Metascore
    • 30 Keith Phipps
    Shakespeare hasn't had it this rough since Lemmy from Motörhead performed the opening soliloquy in "Tromeo And Juliet."
    • 48 Metascore
    • 30 Keith Phipps
    The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad.
    • 48 Metascore
    • 30 Keith Phipps
    Has little to recommend it. A sterling example of how an unimaginative combination of interviews and archival footage can drain the life from even the most compelling topic, it feels padded at a mere 68 minutes.
    • 48 Metascore
    • 30 Keith Phipps
    Parker's film is flat beyond the flatness appropriate to the story; the conflict between Glover and Paymer follows Melville's original so squarely that it quickly begins to feel like they're going through the motions.
    • 48 Metascore
    • 33 Keith Phipps
    Even the movie's rubber monsters look tired.
    • 47 Metascore
    • 20 Keith Phipps
    Even if the time were somehow right for a madcap comedy about terrorists, What To Do In Case Of Fire would still look pretty lousy.
    • 47 Metascore
    • 20 Keith Phipps
    Gibson makes sure that no blow remains unfelt, and his approach can't help but stir the body, but he never touches the soul.
    • 47 Metascore
    • 30 Keith Phipps
    Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive.
    • 47 Metascore
    • 20 Keith Phipps
    As much an inspirational email forward as a film, it’s helped by the work of a strong cast and some photography that makes Nebraska look like heaven on earth. That doesn’t make it persuasive, however.
    • 47 Metascore
    • 30 Keith Phipps
    The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground.