For 981 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
Average review score: 57
Highest review score: 100 Winter's Bone
Lowest review score: 0 8 Heads in a Duffel Bag
Score distribution:
981 movie reviews
    • 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.
    • 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.
    • 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."
    • 63 Metascore
    • 70 Keith Phipps
    Trashy enough to envelop its sex scenes in aerobicized glamour (a Lyne trademark), so the fact that it takes itself so seriously almost counts as a daring move.
    • 90 Metascore
    • 70 Keith Phipps
    The film is unfortunately about little more than its potentially mind-boggling plot and structure.
    • 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.
    • 65 Metascore
    • 70 Keith Phipps
    As disappointing-but-worthwhile films go, you could do a lot worse.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 70 Keith Phipps
    Bridges turns in another remarkable performance, and he's well-matched by Foster.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 70 Keith Phipps
    What it retains is a playful sense of style, that combines with an anything-goes spirit.
    • 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.
    • 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.
    • 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
    Sauret's approach isn't the most artful, but it doesn't have to be. Hearing his subjects speak for themselves is good enough.
    • 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.
    • 54 Metascore
    • 70 Keith Phipps
    It looks like no other movie, Marvel or otherwise, and it’s populated by characters compelling enough to support a more complex, richer story than this one.
    • 59 Metascore
    • 70 Keith Phipps
    The film retains much of what worked about the first film, and it brings a similarly smart, patient, visually striking approach to the gags.
    • 67 Metascore
    • 70 Keith Phipps
    It’s an unwieldy, sometimes overreaching effort, but the laudable ambition makes it easy to forgive some rough patches.
    • 68 Metascore
    • 70 Keith Phipps
    With The Conjuring, [Wan] once more turns the familiar terrifying, making it easy to fear what’s behind that closed door, or under the bed, or just around the corner, making a creaking noise that doesn’t sound quite right.
    • 55 Metascore
    • 70 Keith Phipps
    Kormákur lets his stars balance the buddy-movie levity with just enough dramatic weight to keep it grounded, and his directing style seems like a conscious corrective to the disorienting cutting and obvious CGI effects that have come to dominate Hollywood action films.