For 1,019 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 2.2 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,019 movie reviews
    • 34 Metascore
    • 25 Keith Phipps
    Dieckmann fails to notice that Thurman doesn’t have the comic chops for the material--she comes off more like a self-pitying loser than a witty, put-upon everywoman.
    • 34 Metascore
    • 30 Keith Phipps
    Works equally poorly as a tourist brochure and as a drama.
    • 33 Metascore
    • 0 Keith Phipps
    Every once in a while, a film limps into theaters so stitched together, it's a wonder it doesn't rip apart in the projector. Jonah Hex is such a film.
    • 33 Metascore
    • 25 Keith Phipps
    A romantic triangle between werewolves and humans doesn't sound dull, but director Katja von Garnier seems to determined to drain the life out of it.
    • 33 Metascore
    • 30 Keith Phipps
    The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
    • 33 Metascore
    • 25 Keith Phipps
    RV
    Apart from a funny turn by "Arrested Development's" Will Arnett as Williams' evil boss, nobody appears to be having a good time. And the feeling is infectious.
    • 33 Metascore
    • 20 Keith Phipps
    It essentially uses the setup of an early Dick short story as a bookend to one long, dull chase scene.
    • 33 Metascore
    • 25 Keith Phipps
    Aniston and Sandler, however, play characters too awful to deserve anyone better than each other. But what did we do to deserve them?
    • 33 Metascore
    • 33 Keith Phipps
    As a piece of storytelling, The Haunting In Connecticut is pretty lazy. As a horror movie, it’s lazier still, bringing out every annoying shock-cut and disorienting sound-design trick of the last decade.
    • 33 Metascore
    • 0 Keith Phipps
    More of a throwback to a period in the '70s when big-screen comedies like "FM" and "Thank God It's Friday" seemed to take all their cues from bad sitcoms, putting rice-paper-flat characters into vibrant settings and giving them nothing to do but exchange faux witty dialogue without the much-needed cues of a laugh track.
    • 33 Metascore
    • 30 Keith Phipps
    Sadly, The Punisher is about little more than bullets hitting bone, and how good it might feel to be on the right end of a gun.
    • 32 Metascore
    • 20 Keith Phipps
    Dylan's performance doesn't offer any clues. He's an icon and he delivers an icon's performance, literally: He could easily have been replaced by piece of wood with his face painted on it. That distance also means he remains more or less untouched by the embarrassment going on around him, even though it's largely his own creation.
    • 32 Metascore
    • 33 Keith Phipps
    There must be some solid marketing reason for putting out a Christmas movie before the jack o'lanterns have begun to rot, but if so, it's elusive. Couldn't this lump of coal have waited another month?
    • 32 Metascore
    • 20 Keith Phipps
    Send a check to UNICEF and go see "Lost In Translation," "Mystic River," or "Kill Bill" instead.
    • 32 Metascore
    • 33 Keith Phipps
    It doesn't help that neither Ferrell nor McBride bring their best material, with McBride offering yet another variation on an angry redneck, and Ferrell falling back on Ron Burgundy-like bluster and nonsense exclamations.
    • 32 Metascore
    • 10 Keith Phipps
    While the special effects are impressive, countless films have already proven that if you sink enough money into a project, you can at least make it look good. Unfortunately, good looks are all Godzilla has going for it.
    • 32 Metascore
    • 30 Keith Phipps
    When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
    • 32 Metascore
    • 30 Keith Phipps
    Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier.
    • 31 Metascore
    • 30 Keith Phipps
    This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline.
    • 31 Metascore
    • 20 Keith Phipps
    Craven's name doesn't appear anywhere in the credits of the film otherwise known as They. That's fitting, too, since even the worst Craven-directed movies have a lot more going for them than this painfully familiar bit of oogum-boogum.
    • 31 Metascore
    • 25 Keith Phipps
    Adrien Brody delivers a colorful turn as a braided-and-tatted drug kingpin who thinks his pet toad talks to him (funny animal, check!), but High School is otherwise a tedious sludge through the same gray corridors where the same old gags wait around every turn.
    • 31 Metascore
    • 20 Keith Phipps
    It's a worthless bit of low-grade satire that's as sophisticated and entertaining as a pile of twigs.
    • 31 Metascore
    • 10 Keith Phipps
    In short, every element suggests Envy ought to be amusing, but the only comparably disastrous movie in recent memory involves Ben Affleck, Jennifer Lopez, and a rapping retarded man.
    • 31 Metascore
    • 33 Keith Phipps
    Peter Stormare has fun engaging in some Walken-level scenery-chewing-almost literally-as the patriarch of a werewolf clan. Good for him. That means at least one person has found something to like about this tedious collection of wisecracks and hand-me-down monsters.
    • 30 Metascore
    • 25 Keith Phipps
    This is junk, a bunch of hard-R action scenes kept together by the thinnest of plots.
    • 30 Metascore
    • 30 Keith Phipps
    No doubt a decent movie could have been made about the behind-the-scenes life of CBGB, but CBGB isn’t it. It’s as flip about the club as it is about Kristal, the music, and the time and place that shaped it all.
    • 30 Metascore
    • 30 Keith Phipps
    Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
    • 30 Metascore
    • 30 Keith Phipps
    There's no pea soup, but sketchy effects, cheap jolts, swirling cameras, and buckets of blood surround Exorcist: The Beginning with the potent aroma of cheese.
    • 30 Metascore
    • 25 Keith Phipps
    Marmaduke saves its farts for the beginning and end, but the stink carries through the whole movie.
    • 30 Metascore
    • 30 Keith Phipps
    Plays less like an exposé than a piece of exploitation, its clear divide between good and evil allowing no breathing room for real drama.

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