For 1,029 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 2.2 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Neil Young: Heart of Gold
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
1,029 movie reviews
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 70 Keith Phipps
    It’s an endearingly odd, consistently creepy film that hearkens back to the director’s previous work.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 66 Metascore
    • 70 Keith Phipps
    Dinosaur 13 is haunted by the nagging sense that only one side of the story is getting told.
    • 62 Metascore
    • 70 Keith Phipps
    As generous as the film is to its characters, it also keeps finding ways to criticize their myopia.
    • 88 Metascore
    • 70 Keith Phipps
    By turning her attention to an underreported chapter in recent history, Kennedy has found a trove rich with unreal imagery and stories of heroism in the face of defeat.
    • 83 Metascore
    • 70 Keith Phipps
    While 20,000 Days On Earth never finds the real Nick Cave, it’s because it knows better than to try to look for it.
    • 49 Metascore
    • 70 Keith Phipps
    Plotnick’s mix of straight-faced absurdity and unexpected poignance doesn’t always gel, but it also makes the film more resonant than a straightforward spoof could ever be, and adds another layer to the film’s central joke: You can take to the stars, but the past will always travel with you.
    • 74 Metascore
    • 70 Keith Phipps
    Interstellar often seems afraid to let any development go unpacked and uncommented upon, except for a handful of points that dive into the action and expect viewers to catch up. The film is at its best in these moments, when it’s unafraid of challenging storytelling, particularly since Interstellar never has trouble finding visuals to match its heady concepts.
    • 62 Metascore
    • 70 Keith Phipps
    There’s a sense that the band has left its mark on Sheffield as surely as the city left its mark on the band. This concert might be Pulp’s last hometown appearance, but it hardly seems like goodbye.
    • 81 Metascore
    • 70 Keith Phipps
    Chandor’s film suggests more than it can explore, and a contrived climax makes the film seem like less than the sum of what’s preceded it.

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