For 1,047 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 2.4 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 War Horse
Lowest review score: 0 Jonah Hex
Score distribution:
1,047 movie reviews
    • 81 Metascore
    • 67 Keith Phipps
    An unassuming wisp of a movie, Midnight In Paris finds Woody Allen penning a love letter to the City Of Lights, albeit one whose sentiments could easily fit on a postcard.
    • 56 Metascore
    • 67 Keith Phipps
    Ramona And Beezus has the undeniably nice, pleasantly uninspired feel of film designed to kill time with the kids on a rainy weekend.
    • 65 Metascore
    • 67 Keith Phipps
    How could someone so frail and terrified at the mere thought of acting in front of the camera become the biggest movie star in the world? And how could someone so unknowable become so familiar? Then the film makes the mistake of trying to answer these questions.
    • 76 Metascore
    • 67 Keith Phipps
    Spielrein's name is less familiar than the others, but the film suggests she deserves to be more than a footnote in the history of psychoanalysis.
    • 55 Metascore
    • 67 Keith Phipps
    There are formulaic moments aplenty in Pride, the "inspired by a true story" tale of Philadelphia swimming coach Jim Ellis, but in its first scenes, at least, it deserves some credit for doing the unexpected.
    • 63 Metascore
    • 67 Keith Phipps
    If only the emotions of the performances, the themes of the story, and Wright's cinematic virtuosity synced up more often. A lopsided abridgement that speeds through the plot doesn't help.
    • 32 Metascore
    • 67 Keith Phipps
    A better film would have matched Arnett's seemingly effortless intensity throughout. This okay film does merely okay by it.
    • 64 Metascore
    • 67 Keith Phipps
    Wanted is a queasily unapologetic power fantasy about becoming a better person through violence.
    • 62 Metascore
    • 67 Keith Phipps
    Mostly The Best Exotic Marigold Hotel stays focused on the cutesy, low-stakes personal journeys of its English characters, characters it would be hard to care about if they weren't brought to life by actors who give the film substance and gravity it doesn't otherwise know how to earn.
    • 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.
    • 63 Metascore
    • 67 Keith Phipps
    Offers a concise summary of Burroughs' life and works. Maybe too concise. At a mere 88 minutes, it feels a bit glancing. But as an introduction or refresher course, it gets the job done.
    • 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.
    • 75 Metascore
    • 67 Keith Phipps
    Adams' winning performance and the light touch director Kevin Lima (a veteran of animation and live action) brings to scenes not tasked with advancing the plot all suggest that, silly as they may look once you take it apart, irony-free, romantic fantasy--animated and otherwise--still has a place on the big screen.
    • 70 Metascore
    • 67 Keith Phipps
    It's as subtle as a spinning kick, but some films aren't built for subtlety.
    • 43 Metascore
    • 67 Keith Phipps
    The best thing about Taymor's Tempest is also the worst: It's not stunning but it is sturdy, a handsome-enough showcase of a film that never really comes to life. It plays like a challenge politely declined.
    • 50 Metascore
    • 67 Keith Phipps
    No Strings Attached isn't a BAD piece of formulaic product.
    • 67 Metascore
    • 67 Keith Phipps
    It's a postcard-lovely movie that, in spite of its best intentions, ends up feeling a little touristy.
    • 61 Metascore
    • 67 Keith Phipps
    The Hulk himself looks more steroidal than superheroic, as if the expressive beast from the first film had been replaced by a WWE star.
    • 49 Metascore
    • 67 Keith Phipps
    Without "The Wire" and its like as a point of comparison, Texas Killing Fields might seem the natural heir to a gritty '70s cop drama. But with great contemporary TV around, it seems strangely incomplete.
    • 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.
    • 64 Metascore
    • 67 Keith Phipps
    It's the journey that matters, however, and sometimes the film doesn't seem to know where it's going.
    • 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.
    • 58 Metascore
    • 67 Keith Phipps
    The plot is only semi-comprehensible, but the nearly non-stop musical numbers-brilliant conflations of glam-rock and showtunes-and transgressive sexual energy keep things moving.
    • 72 Metascore
    • 67 Keith Phipps
    The film is at its best when it isn't afraid to be earnest.
    • 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.
    • 66 Metascore
    • 67 Keith Phipps
    It's a heartbreaking tale, a sliver of a tragic history still unfolding, but one that Braun largely leaves others to document.
    • 45 Metascore
    • 67 Keith Phipps
    Though the film never balances the grown-up stuff with the gross-out gags, it suggests the Farrellys might be able to do mature after all.
    • 71 Metascore
    • 67 Keith Phipps
    After a compelling opening act and some shocking late-film developments, the film feels disengaged from the action at hand and the issues raised.
    • 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.
    • 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.

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