For 1,000 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 2.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sweet Hereafter
Lowest review score: 0 The Last Airbender
Score distribution:
1,000 movie reviews
    • 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.
    • 68 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.
    • 66 Metascore
    • 70 Keith Phipps
    Though essentially a straight-faced horror film, You’re Next also taps into a rich vein of black comedy.
    • 71 Metascore
    • 70 Keith Phipps
    Edge Of Tomorrow’s finale can’t live up to what’s come before, though that’s mostly because what comes before is so rich and unusual, particularly in the middle of a summer blockbuster season that doesn’t always value richness or novelty.
    • 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.
    • 40 Metascore
    • 70 Keith Phipps
    Though Wan is stepping away from horror, at least for now, to direct the next The Fast And The Furious sequel, the latest Insidious entry suggests he’s a long way from running out of new tricks, or at least finding infinite variations on old ones.
    • 90 Metascore
    • 70 Keith Phipps
    It’s both unfailingly exciting and overly familiar, a restless but risk-averse film that’s a little too content to borrow from what’s worked before.
    • 71 Metascore
    • 70 Keith Phipps
    At its best, The Broken Circle Breakdown has the feel of life as it’s remembered—moments out of time tethered together by the feelings of those living them.
    • 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.
    • 75 Metascore
    • 70 Keith Phipps
    Muscle Shoals’ story has needed telling, and Camalier packs that telling with memorable stories and music—though the film sometimes substitutes admiration for investigation, paving over conflicts and moving on to the next amazing piece of music to get recorded in town.
    • 75 Metascore
    • 70 Keith Phipps
    Jones delivers a quietly wrenching performance as a woman who comes to recognize too late how much of herself she’s lost. It’s subtle work in a film that is sometimes content to be a little too subtle.
    • 76 Metascore
    • 70 Keith Phipps
    What makes it effective isn’t the facts of the case, so much as the way Philomena lets viewers spend time with its characters and get to know exactly who’s getting hurt.
    • 50 Metascore
    • 70 Keith Phipps
    It’s an endearingly odd, consistently creepy film that hearkens back to the director’s previous work.
    • 62 Metascore
    • 70 Keith Phipps
    While the Veronica Mars film feels a bit small and closed-off by big-screen standards, it will no doubt be big and welcoming enough to those who love the series.
    • 66 Metascore
    • 70 Keith Phipps
    Dinosaur 13 is haunted by the nagging sense that only one side of the story is getting told.
    • 73 Metascore
    • 70 Keith Phipps
    Mistaken For Strangers, which covers Tom’s time with the band and his subsequent attempts to piece together a movie about that time, is a sweet, funny, and sad film, but also an exceedingly odd one.
    • 69 Metascore
    • 67 Keith Phipps
    its moments of greatness--and there are more than a couple--feel weirdly disconnected, stuck in a movie that doesn’t know how to put them together, or find a good way to move from one to the next.
    • 64 Metascore
    • 67 Keith Phipps
    The film lays on its politics-as-chess-game metaphor a little thick, however, and its refusal to leave the corridors of power to see the impact of its developments on the country at large makes it feel stuffy after a while.
    • 52 Metascore
    • 67 Keith Phipps
    The way-too-familiar climax feels less like a comment on destiny than like watching a finely crafted but soulless product roll off an assembly line.
    • 55 Metascore
    • 67 Keith Phipps
    Johnson sets viewers up for greatness, but ultimately offers much milder pleasures. The film isn’t an outright con, but it’s easy to feel a little misled by the end.
    • 65 Metascore
    • 67 Keith Phipps
    The film is much more intriguing in its dread-inducing opening half, when Moll's assured direction keeps suggesting that something horrible will be happening soon, then, when it does, that something even more horrifying may follow.
    • 73 Metascore
    • 67 Keith Phipps
    Which makes it all the more frustrating that the film doesn't quite work, and that it drags from episode to episode--some are brilliant, most merely intriguing--with little momentum.
    • 52 Metascore
    • 67 Keith Phipps
    One of the film's oddest aspects is the way the 2002 footage appears more dated than the scenes from 1978.
    • 70 Metascore
    • 67 Keith Phipps
    It's as subtle as a spinning kick, but some films aren't built for subtlety.
    • 38 Metascore
    • 67 Keith Phipps
    It's more haunting than it has any right to be, thanks to its love of long, lonesome highways and the way the violence of the past bleeds into the present.