For 1,050 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 2.6 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:
1,050 movie reviews
    • 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.
    • 67 Metascore
    • 70 Keith Phipps
    In this long, slow fall from grace, unceremonious nudity and half-hearted sex begin to look like a mockery of a paradise lost.
    • 82 Metascore
    • 70 Keith Phipps
    The film is a bit of a slog, but in the end, it's a slog worth taking, thanks to a strange, moving ending that reduces the samurai era's codes of warfare, class, and honor down to two men meeting face to face.
    • 85 Metascore
    • 70 Keith Phipps
    Julie Bertucelli spends part of the film letting her characters worry whether they've made the right choice, but mostly contents herself with capturing a place where hard choices have become unavoidable. Though her decision to pace the film to Gorintin's old-lady rhythms sometimes kills the dramatic momentum, in the end it's time well spent.
    • 57 Metascore
    • 70 Keith Phipps
    The Newton Boys is Linklater's most conventional film and, despite its numerous flaws, it's not bad.
    • 75 Metascore
    • 70 Keith Phipps
    Like Ang Lee's "Hulk," it's a fusion of arthouse and multiplex instincts, and though it seems unlikely to satisfy anyone, it's just as unlikely that anyone who sees it will forget it soon.
    • 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.
    • 72 Metascore
    • 70 Keith Phipps
    In one of the film's most persuasive bits, Farley Granger talks about chucking a lucrative film career in order to tread the boards in New York. Maybe it's that kind of magnetic draw that makes an age golden.
    • 67 Metascore
    • 70 Keith Phipps
    Bridges turns in another remarkable performance, and he's well-matched by Foster.
    • 63 Metascore
    • 70 Keith Phipps
    In McKay, Ferrell has found an unusually simpatico collaborator for the type of humor that's made him a comedy force: outsized, unexpectedly sweet, and unrelenting.
    • 63 Metascore
    • 70 Keith Phipps
    It's a film whose virtues--particularly its rare, intelligent portrayal of the relationship between two generations of women--outweigh its faults.
    • 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.
    • 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.
    • 65 Metascore
    • 70 Keith Phipps
    Never quite finds the rhythm of a great film, and it scores no points for subtlety by including a subplot about a horse breaking free of its master, but Shahriar displays a real gift for conveying Taghani's plight in all its grimness.
    • 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.

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