For 1,040 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 2.3 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 Jonah Hex
Score distribution:
1,040 movie reviews
    • 64 Metascore
    • 70 Keith Phipps
    The amiable but thin comedy Robots does have a little more going on, but not quite enough to make a difference, although it looks good enough to distract viewers from that fact for a while.
    • 63 Metascore
    • 70 Keith Phipps
    Not every moment works, particularly in the draggy middle section, but the spirit of the thing still carries it along.
    • 63 Metascore
    • 70 Keith Phipps
    Massoud plays Saladin magnetically, and his arrival only illustrates how many opportunities Kingdom misses. Another, better movie would have made him the focus.
    • 68 Metascore
    • 70 Keith Phipps
    Though Sith finally finds some life in the old saga, was it worth it in the end? Did we have to go through all that to get back where we began?
    • 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.
    • 63 Metascore
    • 70 Keith Phipps
    Teghil is a winning lead.
    • 62 Metascore
    • 70 Keith Phipps
    Lord Of War charges bravely and relentlessly into volatile territory, and it's hard to leave unscarred by the experience.
    • 69 Metascore
    • 70 Keith Phipps
    It's a familiar story, but Mills and Pucci treat it as if it were the first time anyone had thought to tell it.
    • 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.
    • 72 Metascore
    • 70 Keith Phipps
    Black's sadistic streak remains as uncomfortable as it ever was, and his direction is very much in the house style of producer Joel Silver. But both elements perfectly suit the material, which sneaks in a lot of sly stuff beneath the slick surface.
    • 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.

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