For 995 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 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 The Last Airbender
Score distribution:
995 movie reviews
    • 64 Metascore
    • 70 Keith Phipps
    Essentially, the film stays at the party too long. But for a good stretch, its combination of twirling excitement and dry absurdity captures the spirit of characters too intoxicated to realize they're dancing over a chasm.
    • 74 Metascore
    • 70 Keith Phipps
    As for the unfortunates who aren't already in love with The Ramones, End Of The Century should give them a better understanding of what they've been missing, and leave them wondering why they've missed out on it for so long.
    • 60 Metascore
    • 70 Keith Phipps
    The film works by putting the accelerator to the floor and never looking in the rear-view mirror.
    • 75 Metascore
    • 70 Keith Phipps
    Handsomely shot by Brazilian director Walter Salles and beautifully played by the two leads, The Motorcycle Diaries would amount to little more than a minor, softly politically conscious coming-of-age story, if not for its historical context.
    • 70 Metascore
    • 70 Keith Phipps
    When Friday Night Lights gets to the big games, the time it's spent creates an atmosphere thick with tension, one akin to the real-world experience of watching a favorite team play for its life.
    • 64 Metascore
    • 70 Keith Phipps
    Years from now, Team America will better convey the political character of 2004 than a stack of Time magazines. Staying funny helps even more.
    • 69 Metascore
    • 70 Keith Phipps
    A dark-humored film about devastation, which makes Vodka Lemon's final rush into comedy in the truest sense all the more refreshing. Even in the wasteland, there might be humor other than the gallows kind.
    • 91 Metascore
    • 70 Keith Phipps
    Though Moolaadé doesn't shy away from the task of educating its viewers about the brutality of "purification," it works equally well as a tribute to righteous defiance wherever it surfaces.
    • 62 Metascore
    • 70 Keith Phipps
    Huo never quite finds the filmic vocabulary to tilt the film toward greatness-and the mawkish synth score does little to help-but Postmen In The Mountains ultimately succeeds.
    • 89 Metascore
    • 70 Keith Phipps
    Choreographed to the last beat, the action scenes have a depth that the film's thinly sketched characters never quite develop.
    • 58 Metascore
    • 70 Keith Phipps
    What it retains is a playful sense of style, that combines with an anything-goes spirit.
    • 72 Metascore
    • 70 Keith Phipps
    It's a hard-won comfort, found here over a bleak stretch of days, but All Or Nothing makes it look like the best life has to offer.
    • 76 Metascore
    • 70 Keith Phipps
    Though Machuca ultimately doesn't shy away from taking sides, it wisely keeps the focus on the human element. The politics take place in the background until they demand the foreground.
    • 71 Metascore
    • 70 Keith Phipps
    Without coming out and saying it, The Nomi Song creates the sense that its subject might simply have been a few hundred years ahead of his time.
    • 74 Metascore
    • 70 Keith Phipps
    As absurd as the situation gets--and the film occasionally launches into surreal asides that only heighten the absurdity--director and star both keep it grounded in the situation's emotions.
    • 63 Metascore
    • 70 Keith Phipps
    On its own terms, Dear Frankie works much better than it really has any right to. Auerbach tells a small, contrived story, but gives it the weight of life.
    • 64 Metascore
    • 70 Keith Phipps
    The amiable but thin comedy Robots does have a little more going on, but not quite enough to make a difference, although it looks good enough to distract viewers from that fact for a while.
    • 63 Metascore
    • 70 Keith Phipps
    Not every moment works, particularly in the draggy middle section, but the spirit of the thing still carries it along.
    • 63 Metascore
    • 70 Keith Phipps
    Massoud plays Saladin magnetically, and his arrival only illustrates how many opportunities Kingdom misses. Another, better movie would have made him the focus.
    • 68 Metascore
    • 70 Keith Phipps
    Though Sith finally finds some life in the old saga, was it worth it in the end? Did we have to go through all that to get back where we began?
    • 64 Metascore
    • 70 Keith Phipps
    Or
    For long stretches, Or is a dialogue-heavy kitchen-sink drama, but its naturalistic style and unselfconscious performances give it an intensity that only builds as it progresses.
    • 63 Metascore
    • 70 Keith Phipps
    Teghil is a winning lead.
    • 62 Metascore
    • 70 Keith Phipps
    Lord Of War charges bravely and relentlessly into volatile territory, and it's hard to leave unscarred by the experience.
    • 69 Metascore
    • 70 Keith Phipps
    It's a familiar story, but Mills and Pucci treat it as if it were the first time anyone had thought to tell it.
    • 59 Metascore
    • 70 Keith Phipps
    Behind the camera, Lee shows a steady hand and saves his best tricks for the big finale, which generates a lot of excitement out of the collision of disco music and some truly impressive skating.
    • 72 Metascore
    • 70 Keith Phipps
    Black's sadistic streak remains as uncomfortable as it ever was, and his direction is very much in the house style of producer Joel Silver. But both elements perfectly suit the material, which sneaks in a lot of sly stuff beneath the slick surface.
    • 69 Metascore
    • 70 Keith Phipps
    Brown's respectful film offers the usual music-doc mix of archival footage, song clips, and talking heads, but with a figure as enigmatic and underreported as Van Zandt, the safe course works well.
    • 44 Metascore
    • 70 Keith Phipps
    Fast-paced and ambitious, it never bores, and Soderbergh proves himself interesting to watch in addition to being gifted behind the camera.
    • 61 Metascore
    • 70 Keith Phipps
    Freeway is full of nice touches—such as making the villain a psychologist— that play off the expectations of a familiar story. While also working as a conventional thriller, its many twists on the fairy tale make it work on an almost subliminal level.
    • 55 Metascore
    • 70 Keith Phipps
    It’s light and loose in ways that Almodóvar hasn’t let himself be in decades. Unsurprisingly, it’s also a lot of fun, a relentlessly entertaining lark that, like its setting, soars into the clouds, then discovers it doesn’t really have a way to get down.