For 1,067 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 4.6 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Winter's Bone
Lowest review score: 0 Jonah Hex
Score distribution:
1067 movie reviews
    • 59 Metascore
    • 60 Keith Phipps
    It’s fun, but it’s ultimately more of the same in brand-new packaging.
    • 70 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.
    • 44 Metascore
    • 60 Keith Phipps
    It's passably gripping and occasionally lively.
    • 63 Metascore
    • 60 Keith Phipps
    In the end, Chaos is as compelling as it is confounding, and it's compelling in large part because of the confusion it stirs.
    • 49 Metascore
    • 60 Keith Phipps
    It's clumsy, but also strangely refreshing. To children raised on "Spy Kids" and "SpongeBob SquarePants," it may look as primitive as a daguerreotype, but never underestimate the persuasive powers of a cute animal.
    • 55 Metascore
    • 60 Keith Phipps
    As Ouimet, the always-terrific Shia LeBeouf is an oasis of depth in a film that otherwise can't pass up a sports-film cliché.
    • 45 Metascore
    • 60 Keith Phipps
    Only a truly great director can make a film of high artistic merit, filled with personality and memorable scenes, that's still a borderline disaster. (Think One From The Heart or 1941.) So the heartfelt and woefully miscalculated Elizabethtown may be the film that marks Cameron Crowe's arrival as a truly great director.
    • 66 Metascore
    • 60 Keith Phipps
    Unfortunately, Russell paces the film as if trying to demonstrate what eternity feels like. When the plot begs to move forward, the film keeps lingering over friendly fawns and long walks through the forest.
    • 51 Metascore
    • 60 Keith Phipps
    Short and shapeless but nonetheless welcome documentary.
    • 55 Metascore
    • 60 Keith Phipps
    While not dwelling on plot eventually gets P.S. in trouble during the slack finale, it gives Linney and Grace plenty of room to maneuver.
    • 38 Metascore
    • 60 Keith Phipps
    Pretty painless by kiddie movie standards.
    • 67 Metascore
    • 60 Keith Phipps
    If nothing else, the sweep of Workman’s cradle-to-grave approach helps place Kane in a broader context, making it one chapter in a long life and a drama-packed career. The only trouble with the film is that Welles’ story has been told many times over, and Workman struggles to find anything new to say.
    • 62 Metascore
    • 60 Keith Phipps
    Big Eyes contains comedy and tragedy, too, but they pair much less agreeably here, in part because each of the film’s two protagonists belongs much more to one world than the other.
    • 59 Metascore
    • 60 Keith Phipps
    But while Only The Strong Survive is essential viewing for soul fans, as a documentary it never makes the needed connections among the artists, their music, and the lives they lead.
    • 62 Metascore
    • 60 Keith Phipps
    Despite the sharp dialogue...and carefully managed dramatic rhythms, Match still can’t help but seem a bit cramped, particularly once the plot starts to take some predictable turns and the shouting starts. It’s a fine line that divides the intimate from the claustrophobic.
    • 42 Metascore
    • 60 Keith Phipps
    When the general pleasantness of the atmosphere and the cleverness of the screenplay don't carry the movie, Wilson does -- at least until a hurried, confounding finale that reveals its casualness as sloppiness.
    • 72 Metascore
    • 60 Keith Phipps
    Eventually Stein's habit of dodging its own issues grows frustrating.
    • 59 Metascore
    • 60 Keith Phipps
    Director Chris Terrio adapts Amy Fox's play with flashes of wit, moments of insight, and some fine performances. But Heights' characters move along such preordained paths and perform such familiar movie actions that they might as well sport antennae.
    • 62 Metascore
    • 60 Keith Phipps
    Content to let his work speak for itself, Giger has little to add to the conversation, and while it’s intriguing to see him working in—or sometimes just ambling through—a house filled with his work and sources of inspiration, Sallin too often lets these scenes crowd out the story she’s trying to tell.
    • 59 Metascore
    • 60 Keith Phipps
    For everything here that’s new and exciting, there’s much that’s way too familiar. The kids are so one-dimensional and unpleasant, it’s hard to care once they start dying off.... Unfriended is often more innovative than scary, too, with some memorable but not particularly chilling and hilariously foreshadowed death scenes.
    • 36 Metascore
    • 60 Keith Phipps
    A solid, interesting B-movie, in another season it would seem a good deal fresher.
    • 69 Metascore
    • 60 Keith Phipps
    Young costars carry the film, creating real characters from a generally flat script and Peter Care's largely undistinguished direction, both of which conspire to keep Altar Boys' danger at a distance.
    • 59 Metascore
    • 60 Keith Phipps
    Though he (Jordan) directs with admirable skill, his usual touches don't drive the film--which occasionally threatens to lose its shape.
    • 33 Metascore
    • 60 Keith Phipps
    The fun wears thin once it becomes clear that the only trick the film has to offer is footage of the women fighting and bonding over their shared love of the handsome but uncharismatic Verástegui.
    • 65 Metascore
    • 60 Keith Phipps
    When it unexpectedly shifts back into its initial thriller mode, Walk On Water loses in human drama what it gains in tidiness, revealing itself as a film that carries more weight in its light scenes than its heavy moments can sustain.

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