For 1,034 reviews, this critic has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% 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
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,034 movie reviews
    • 70 Metascore
    • 70 Keith Phipps
    Another actor might not have been able to carry the film, given such a creepily monomaniacal character, but Hoffman lets the humanity soak through, registering split seconds of panic when he's on the verge of getting caught, then just as quickly creating and working a new plan.
    • 58 Metascore
    • 70 Keith Phipps
    Mike Nawrocki and Phil Vischer, who co-write, co-direct, and supply much of the voice talent, soft-pedal the proselytizing and explicitly Christian elements in favor of gags and gentle lessons, keeping the pace fast and the scenery colorful.
    • 90 Metascore
    • 70 Keith Phipps
    The film is unfortunately about little more than its potentially mind-boggling plot and structure.
    • 51 Metascore
    • 70 Keith Phipps
    Despite a shaky start and the presence of questionable elements throughout, by the time it arrives at its finale -- which copies Return Of The Jedi's triple-climax structure -- The Phantom Menace has won its place alongside the original Star Wars trilogy.
    • 65 Metascore
    • 70 Keith Phipps
    The film's generous spirit, disarming mixture of beauty and brutality, and gentle, insistent sweep make it easy to surrender to it anyway.
    • 52 Metascore
    • 70 Keith Phipps
    Though initially off-putting, Chick's distanced direction pays off as XX/XY goes along.
    • 64 Metascore
    • 70 Keith Phipps
    Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.
    • 82 Metascore
    • 70 Keith Phipps
    What it became is essentially one long free-fall from destitution to despair.
    • 59 Metascore
    • 70 Keith Phipps
    Hoffman and Sarandon work well together, and Gyllenhaal, who's carved out a niche for himself as the new face of internalized conflict, fits nicely into a role Hoffman would have made a meal of 30 years ago.
    • 64 Metascore
    • 70 Keith Phipps
    In just about every way, Insurrection seems as if everyone involved is still stuck in the weekly grind of turning out the series, but the results don't disappoint too terribly.
    • 67 Metascore
    • 70 Keith Phipps
    Here's a strangely flawed and strangely satisfying movie.
    • 62 Metascore
    • 70 Keith Phipps
    Hush! takes an excessive, saga-like running time to reach its conclusion, but Hashiguchi frequently makes the trudge worthwhile, particularly when he finds the energy to match his three leads' charming performances.
    • 68 Metascore
    • 70 Keith Phipps
    The ridiculously entertaining Shaolin Soccer pulls out all the stops to make sure viewers stay happy.
    • 81 Metascore
    • 70 Keith Phipps
    That makes it hard to watch "Billy Elliot" director Stephen Daldry's adaptation without thinking of the one Almodóvar might have made -- which surely would have been warmer, less self-consciously tony, and less relentlessly arid than the one that did get made.
    • 71 Metascore
    • 70 Keith Phipps
    Though sloppily structured and sometimes dangerously flimsy (not to mention truncated at a mere 78 minutes), Tadpole has an unforced charm that compensates for the absence of more traditional cinematic virtues.
    • 79 Metascore
    • 70 Keith Phipps
    Though there's a formula at the film's core, Whale Rider still has the good taste to make that formula go down easy.
    • 62 Metascore
    • 70 Keith Phipps
    Moss offers few startling revelations, but gently gets at the truth of his subjects' lives by playing the past against the present.
    • 52 Metascore
    • 70 Keith Phipps
    Writer-director Tim McCanlies works in broad, kid-friendly strokes, and he's not afraid to lay on the sentiment, but his cast makes sure it's well-earned.
    • 75 Metascore
    • 70 Keith Phipps
    Has a message, which it effectively conveys by succeeding first as an affecting film. Winterbottom's actors give a human face to current events as they proceed along their grim road-movie toward a destination that may not even want them. They may be statistics, too, but their stories stick in the mind.
    • 66 Metascore
    • 70 Keith Phipps
    As a morality play, it's a one-sided contest, because the question of whether power corrupts is never a question at all. As a queasily thrilling tour of a dirty little corner of the world, however, Trapero's film offers a memorable ride.
    • 69 Metascore
    • 70 Keith Phipps
    Adapting a novel by Eric-Emmanuel Schmitt, François Dupeyron uses handheld cameras and some jarring edits, but, prostitutes and all, this is storybook material: heartfelt, pleasant, cuddly, and a little too insubstantial to stick in the mind for long.
    • 66 Metascore
    • 70 Keith Phipps
    Mostly, it's just a pleasure to watch Keaton and Nicholson learning new steps in an old dance, stumbling to grab at happiness before it's too late.
    • 64 Metascore
    • 70 Keith Phipps
    It's tacky and beautiful, sometimes both at the same time. Occasionally flatfooted even as it sparkles, the film suffers when Hogan lets the scenery do the directing for him, but he's chosen a cast capable of shouldering the film's weight.
    • 62 Metascore
    • 70 Keith Phipps
    The Dreamers is a universal story, one that captures the thrill of discovering culture, sex, and politics, and the painful twinge of learning that those worlds aren't enough.
    • 72 Metascore
    • 70 Keith Phipps
    The story is well-told, but so familiar that it renders the surrounding film a bright, shiny, dispensible bauble, an amusing diversion but not much more.
    • 69 Metascore
    • 70 Keith Phipps
    Sauret's approach isn't the most artful, but it doesn't have to be. Hearing his subjects speak for themselves is good enough.
    • 71 Metascore
    • 70 Keith Phipps
    The mostly wordless film simply presents Ground Zero, the dust-covered surrounding areas, and the city's immediate rescue efforts. As a document, it's invaluable, and as a viewing experience, it's somewhat shocking.
    • 63 Metascore
    • 70 Keith Phipps
    Perfectly in keeping with a series that began by simply putting a monster on a spaceship, then gave itself the creative freedom to explore what that monster and that spaceship really meant. [Quadrilogy]
    • 43 Metascore
    • 70 Keith Phipps
    Though Smith loses many of his past efforts' familiar trappings--Jay and Silent Bob are now confined to the production-company logo--Jersey Girl plays to Smith's strengths like no film since "Clerks."
    • 72 Metascore
    • 70 Keith Phipps
    Pretty much impossible not to like a little, but it's also hard to like a lot. There's a fantastic film to be made from this material, but now, the burden of making it falls to a sequel.

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