For 1,062 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 3.7 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Lowest review score: 0 200 Cigarettes
Score distribution:
1062 movie reviews
    • 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.
    • 49 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.
    • 69 Metascore
    • 67 Keith Phipps
    Made with affection and access but not enough structure.
    • 75 Metascore
    • 67 Keith Phipps
    It's an imperfect film, but it's the kind of imperfect film of which it would be nice to have seen Shelly make more.
    • 51 Metascore
    • 67 Keith Phipps
    You have to give She's All That points for unironically staying true to its genre in its purest form, one Kevin Williamson-like bit of dialogue aside.
    • 51 Metascore
    • 60 Keith Phipps
    Mackenzie's film could almost use one or two lurid touches in place of its stately distance. Then again, a more stylized approach might have allowed less room for Richardson, whose unsparing performance makes other elements almost irrelevant.
    • 51 Metascore
    • 60 Keith Phipps
    Roberts' script and direction show sparks of wit, but the plot comes lifted from countless heist films.
    • 75 Metascore
    • 60 Keith Phipps
    The lovable characters remain, but they never do much of interest in a sequel that's safely above average but superfluous.
    • 42 Metascore
    • 60 Keith Phipps
    Machine makes its look-to-the-future-not-the-past message as clear as a Grammy acceptance speech, but as an exploration of regret and the elusive quality of time, it falls well short of "Memento," another film starring a sad-eyed Pearce.
    • 64 Metascore
    • 60 Keith Phipps
    Though he never quite rescues the film, Bardem continually suggests the tensions bubbling under the surface that Dancer itself never penetrates.
    • 47 Metascore
    • 60 Keith Phipps
    Brett Ratner remains a director of no great distinction, but here, he proves himself an adept orchestrator of battle scenes, clearly presenting the forces on both sides, and using clear, coherent editing and dynamic compositions.
    • 74 Metascore
    • 60 Keith Phipps
    A slow, meditative movie-an appropriate choice given the subject matter-that ultimately fails, in spite of clearly heartfelt good intentions, because of its almost inhuman detachment.
    • 58 Metascore
    • 60 Keith Phipps
    Love Liza needs more than mood on its side. A moment of recognizable human behavior would have been a fine place to start.
    • 62 Metascore
    • 60 Keith Phipps
    Though it's tough to find much fault with a film so sweet, Piglet's Big Movie never lives up to its title.
    • 50 Metascore
    • 60 Keith Phipps
    The film refreshingly portrays its kids as part of a diverse group trying to succeed in a country in which they can never find secure footing. That’s the big-picture story here, and one even the occasional underdog cliché can’t obscure.
    • 61 Metascore
    • 60 Keith Phipps
    Like its immediate predecessor, Muppets Most Wanted has one tremendous advantage, even when it missteps: Muppets.
    • 66 Metascore
    • 60 Keith Phipps
    By the film's halfway point, the subplots have all started to head in the most obvious directions imaginable, which is too bad, since they all have real potential. Ferrera's story of spending the summer as an out-of-place ethnic element in the milk-white suburbs stays interesting the longest, in large part thanks to her performance.
    • 64 Metascore
    • 60 Keith Phipps
    For much of The Patience Stone, Farahani is the movie, and as she shifts from fear to despair to anger to emotions she’d never previously considered, her magnetic presence goes a long way toward putting a human face on the film, more successfully than the material around her.
    • 66 Metascore
    • 60 Keith Phipps
    Panayotopoulou's background in photography shows in the way she lets her chiaroscuro lighting mirror her characters' emotions. It also shows in the still-life quality that Hard Goodbyes never quite gets beyond.
    • 59 Metascore
    • 60 Keith Phipps
    It’s fun, but it’s ultimately more of the same in brand-new packaging.
    • 68 Metascore
    • 60 Keith Phipps
    For those who like Carrey and are waiting for a film they can honestly say they enjoyed through and through, this ain't it.
    • 65 Metascore
    • 60 Keith Phipps
    Tying The Knot's central point remains insistently stated. It would be hard for anyone to watch it and still think of the demand for same-sex marriage as a mere passing fancy.
    • 61 Metascore
    • 60 Keith Phipps
    It's a stylish, cleverly plotted, perpetually unpredictable film with another electric (albeit brief) performance from Penn. So why is it so unaffecting?
    • 73 Metascore
    • 60 Keith Phipps
    Wong’s usual concerns overwhelm the film, and though his pairing of fisticuffs and longing is sometimes awkward, he surrounds the awkwardness with some of the most beautiful images in his career. In Wong’s world, beauty goes a long way.
    • 63 Metascore
    • 60 Keith Phipps
    When the suspense setpieces do come, many of them are staged with considerably less imagination—with cheap jolts underscored by an intrusive score—than would be expected from director Wes Craven.
    • 61 Metascore
    • 60 Keith Phipps
    Occasionally, the film invites a more dynamic touch than the careful slowness Cholodenko carries over from "High Art." But that same care gives the movie a seductive quality that would have been lost in a more hurried approach.

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