For 1,064 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 Jonah Hex
Score distribution:
1064 movie reviews
    • 77 Metascore
    • 70 Keith Phipps
    At times, Bani Etemad succeeds only too well at capturing the confusing rush of Adineh's family life--the film presents more subplots than it can follow thoroughly, until its final act snaps all that's come before into sharp focus.
    • 64 Metascore
    • 70 Keith Phipps
    Rendering in high drama the story of Moses one moment and then underscoring that drama with songs filled with banal "you-can-make-it-if-you-really-try" cliches moves from the sublime to the ridiculous so quickly, you could get the bends.
    • 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.
    • 57 Metascore
    • 70 Keith Phipps
    As pleasant stimulation for the eye and ear, it's two hours of sumptuousness, but anyone looking for more won't find it here.
    • 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
    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.
    • 74 Metascore
    • 70 Keith Phipps
    While McKellen's sharp performance provides the main attraction, the film wouldn't work without both Fraser, who brings something extra to a character who could easily have been a mere lunk, and director Bill Condon's careful integration of larger themes.
    • 73 Metascore
    • 70 Keith Phipps
    Though High Art has more than a few awkward touches--all the male characters take up less than one dimension, for example--it's otherwise a nicely underplayed, memorable, beautifully filmed movie.
    • 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.
    • 68 Metascore
    • 70 Keith Phipps
    Alan J. Pakula’s 1982 adaptation of William Styron’s 1979 novel Sophie’s Choice is one of those films whose great qualities put its lesser elements in sharp relief.
    • 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.
    • 60 Metascore
    • 70 Keith Phipps
    The film works by putting the accelerator to the floor and never looking in the rear-view mirror.
    • 67 Metascore
    • 70 Keith Phipps
    Bridges turns in another remarkable performance, and he's well-matched by Foster.
    • 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.
    • 58 Metascore
    • 70 Keith Phipps
    Starr and Shihabi, a charming newcomer, play off each other beautifully, and even when the film becomes a little too heavy-handed...their relationship keeps it grounded.
    • 62 Metascore
    • 70 Keith Phipps
    As generous as the film is to its characters, it also keeps finding ways to criticize their myopia.
    • 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.
    • 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.
    • 60 Metascore
    • 70 Keith Phipps
    It's a smart, exciting, involving film that's true to its source, which is all it really needs to be.
    • 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
    Edwards’ film doesn’t care much about metaphorical resonance, and cares even less about its human characters, many of which get forgotten for long stretches of the film. But Godzilla has a way with a disaster setpiece, and it cares a lot about providing awesome monster-on-monster action on a mammoth scale.
    • 68 Metascore
    • 70 Keith Phipps
    The ridiculously entertaining Shaolin Soccer pulls out all the stops to make sure viewers stay happy.
    • 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.
    • 55 Metascore
    • 70 Keith Phipps
    In the latest of a long string of memorable performances, Hanks balances wide-eyed confusion with innate shrewdness, finding a character who's both unfailingly sweet and nobody's fool.
    • 57 Metascore
    • 70 Keith Phipps
    The Newton Boys is Linklater's most conventional film and, despite its numerous flaws, it's not bad.
    • 73 Metascore
    • 70 Keith Phipps
    A lot goes on, and it doesn't always make sense. But the cast embodies Rendell's ability to incorporate shrewd observations on human behavior into the framework of a crime story, and Miller has a great eye for the places on the Paris outskirts where the lives of haves and have-nots intersect.
    • 78 Metascore
    • 70 Keith Phipps
    Frears has directed a surprisingly sturdy hybrid of thriller and social melodrama, even if the thrills turn ludicrous and the social critique grows a little pat.
    • 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.

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