For 1,063 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 2.8 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Lowest review score: 0 A Life Less Ordinary
Score distribution:
1,063 movie reviews
    • 54 Metascore
    • 33 Keith Phipps
    This isn’t a movie. It’s a MySpace page.
    • 49 Metascore
    • 33 Keith Phipps
    No one makes it out of this laughless mess unscathed.
    • 42 Metascore
    • 33 Keith Phipps
    Whatever its model, the film is assembled from much poorer material, leftover parts of Lifetime movies and well-meaning indie films seen only on opening nights at some forgotten festival in Tampa.
    • 48 Metascore
    • 33 Keith Phipps
    Even the movie's rubber monsters look tired.
    • 44 Metascore
    • 33 Keith Phipps
    Dunmore creates a memorably grimy London, but the moral grime covering the film proves less memorable.
    • 25 Metascore
    • 33 Keith Phipps
    As for the 3-D, much ballyhooed in the film's advertisements, it's another muddy conversion that does little but make the film's unconvincing blood effects look a little darker. It's good, theoretically at least, to have Craven back. But why come back for this?
    • 56 Metascore
    • 33 Keith Phipps
    Maher's too smart to make a movie this dumb.
    • 45 Metascore
    • 33 Keith Phipps
    So instead of history and drama, we get images, many of them striking but none of them memorable, and noise that deafens until no sense can escape. The events beg for Shakespearean gravity, but the only tragedy here is that so little could be made of so much.
    • 26 Metascore
    • 33 Keith Phipps
    It's seldom a good sign when a Rob Schneider cameo elevates a comedy, but Little Man aims so low and fires so often that it can't miss all the time.
    • 39 Metascore
    • 33 Keith Phipps
    About Piven: When did it go wrong? When did the caustic character actor guaranteed to liven up even the dullest movie turn into a walking black hole of smarm from which no joy can escape?
    • 50 Metascore
    • 33 Keith Phipps
    It's as dull as it is brainless, the work of creators who've spent far more time concocting silly stories about Shakespeare than learning from him.
    • 39 Metascore
    • 30 Keith Phipps
    Yet another comedy that suggests someone should take Martin aside and remind him that he can do better.
    • 33 Metascore
    • 30 Keith Phipps
    The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
    • 26 Metascore
    • 30 Keith Phipps
    Even Neeson can’t rescue this halfhearted shrug of a movie.
    • 32 Metascore
    • 30 Keith Phipps
    When they (the family) arrive at their destination, the story arrives at an ending that's neither obvious nor interesting, kind of like the film leading up to it.
    • 29 Metascore
    • 30 Keith Phipps
    It's a sign of trouble when watching a movie prompts nostalgia for the movie it's ripping off, particularly when that movie wasn't any good. But walking out of Johnson Family Vacation, it's hard not to feel misty-eyed for the urine-soaked-sandwich gags, incest jokes, and other refined comic elements of "National Lampoon's Vacation."
    • 30 Metascore
    • 30 Keith Phipps
    Playing in theaters when it belongs on television, where snacks and bathroom breaks can counteract its punishing dryness, and the option of watching something else doesn't involve driving home.
    • 35 Metascore
    • 30 Keith Phipps
    Neither Grossman’s uninspired staging nor the performances help much.
    • 44 Metascore
    • 30 Keith Phipps
    The once-reliable Danes is a particular detriment, but it's really hard to care whether either character escapes from what looks like a really unappealing summer camp.
    • 51 Metascore
    • 30 Keith Phipps
    McKellen is fine, of course, but the film as a whole offers about as much insight into evil as Ming The Merciless in a “Flash Gordon” serial.
    • 42 Metascore
    • 30 Keith Phipps
    Chow has a future in a America if given better material with which to work; here, he's wasted in a movie that's forgotten 20 minutes after the credits roll.
    • 32 Metascore
    • 30 Keith Phipps
    Mostly Boogeyman remains content to be a film about a boogeyman who hides in closets and under beds and gobbles people up. And for that, it deserves a certain amount of respect. On the other hand, the film could hardly be any sillier.
    • 56 Metascore
    • 30 Keith Phipps
    Troy does look good--so good, in fact, that it takes a while to reveal itself as a thundering dud with much action but little personality, human drama, or brains.
    • 36 Metascore
    • 30 Keith Phipps
    Spade can still be funny when he lets himself be mean, and Dickie Roberts shows glimmers of that dynamic, but they're muscled out by lazy slapstick and maudlin stuff.
    • 29 Metascore
    • 30 Keith Phipps
    The film aims for twee, but lands on torturous. It’s narcissism blown up to a global scale, in the guise of a quirky voyage of self-discovery.
    • 35 Metascore
    • 30 Keith Phipps
    A mess.
    • 39 Metascore
    • 30 Keith Phipps
    The result is a relentlessly dour film livened up only by Bardem’s shameless scenery-chewing and the occasional jolt of action. Otherwise, it’s an endless frown of a movie that does little but confirm that Penn’s talents, while impressive, aren’t limitless.
    • 40 Metascore
    • 30 Keith Phipps
    It's a lot to suffer through for a film that has nothing to say, but insists on saying it anyway. Repeatedly.
    • 30 Metascore
    • 30 Keith Phipps
    No doubt a decent movie could have been made about the behind-the-scenes life of CBGB, but CBGB isn’t it. It’s as flip about the club as it is about Kristal, the music, and the time and place that shaped it all.
    • 36 Metascore
    • 30 Keith Phipps
    Domino de-emphasizes the human element--not to mention such niceties as plot and clarity--to such a degree that only those who show up purely to watch combustibles go "boom" won't feel insulted.
    • 37 Metascore
    • 30 Keith Phipps
    Though light on drama, Apple’s scenes at the shelter are easily the best part of the film, among the few moments when Gimme Shelter decides to show the effect of faith and charity rather than simply preach it.
    • 59 Metascore
    • 30 Keith Phipps
    Some good Bob Dylan songs are called in to underline the big moments, but end up eclipsing them instead. There's more drama and insight in a snippet of "One More Cup Of Coffee" than the entirety of Jack & Rose.
    • 34 Metascore
    • 30 Keith Phipps
    Works equally poorly as a tourist brochure and as a drama.
    • 48 Metascore
    • 30 Keith Phipps
    The first 20 minutes of Blast From The Past, in which the film actually does something with its central concept, aren't that bad.
    • 35 Metascore
    • 30 Keith Phipps
    If you've ever wanted to see Queen Latifah fatally attacked by jellyfish at the bottom of the ocean, Sphere is the movie for you. If you're looking for more, you're not going to find it here.
    • 44 Metascore
    • 30 Keith Phipps
    When a sequel has to hit the reset button and take all its characters back to where they started, it probably didn't need to be made.
    • 48 Metascore
    • 30 Keith Phipps
    Has little to recommend it. A sterling example of how an unimaginative combination of interviews and archival footage can drain the life from even the most compelling topic, it feels padded at a mere 68 minutes.
    • 30 Metascore
    • 30 Keith Phipps
    Plays less like an exposé than a piece of exploitation, its clear divide between good and evil allowing no breathing room for real drama.
    • 47 Metascore
    • 30 Keith Phipps
    The Spanish import The Other Side Of The Bed takes a winning idea and drives it directly into the ground.
    • 42 Metascore
    • 30 Keith Phipps
    If there's one thing more heartbreaking than a crying child, it's a crying child wearing thick glasses, an image exploited numerous times throughout the course of the dull, uninvolving, tissue-thin Hope Floats.
    • 9 Metascore
    • 30 Keith Phipps
    A fairly faithful adaptation of what a game is like, but without the pleasure of getting to play or the much-needed option of pressing the "off" button.
    • 43 Metascore
    • 30 Keith Phipps
    A film as grisly as it is dumb.
    • 42 Metascore
    • 30 Keith Phipps
    Shamelessly exploitative, but never entertainingly so.
    • 38 Metascore
    • 30 Keith Phipps
    Anyone who already knows better than to taunt the disabled, or former Oscar winners, should probably give it a pass.
    • 46 Metascore
    • 30 Keith Phipps
    Hardwick switches gears from wacky comedy to romantic drama about halfway through Deliver Us, but it's too late, and what follows is far too dull to make any difference.
    • 37 Metascore
    • 30 Keith Phipps
    Aside from a promising scene involving a cornfield rave and the pyrotechnic potential for grain alcohol, it drags along, taking a small eternity to set up a final showdown that plays more like a bloody pro-wrestling event than the stuff of nightmares.
    • 30 Metascore
    • 30 Keith Phipps
    There's no pea soup, but sketchy effects, cheap jolts, swirling cameras, and buckets of blood surround Exorcist: The Beginning with the potent aroma of cheese.
    • 37 Metascore
    • 30 Keith Phipps
    Excerpted from The History Channel’s 10-part 2013 miniseries The Bible, then given extra footage, Son Of God boils the life of Jesus down to feature-length, but it plays less like a movie than a hastily edited attempt to explore a new revenue stream.
    • 29 Metascore
    • 30 Keith Phipps
    Even without the difficult imagery, Breillat's grim observations on men, women, and sexual orientation, are tough to take.
    • 40 Metascore
    • 30 Keith Phipps
    It's drainingly mediocre.
    • 47 Metascore
    • 30 Keith Phipps
    Emmerich now directs entirely in watered-down Spielbergisms, and his storytelling skills, never strong, have gone slack. His talent for stretching a concept that can be described in 10 seconds into a feature-length movie, on the other hand, remains impressive.
    • 49 Metascore
    • 30 Keith Phipps
    The junk-shop surrealism ultimately gets the better of everyone's good intentions.
    • 48 Metascore
    • 30 Keith Phipps
    Parker's film is flat beyond the flatness appropriate to the story; the conflict between Glover and Paymer follows Melville's original so squarely that it quickly begins to feel like they're going through the motions.
    • 68 Metascore
    • 30 Keith Phipps
    The best that can be said of Son Of The Bride is that it's attractively photographed. But, then, so was the Hindenburg explosion, and this packs far less excitement into its two shapeless hours.
    • 22 Metascore
    • 30 Keith Phipps
    Hard not to pelt the screen with rotten fruit when confronted with a film like Christmas With The Kranks.
    • 68 Metascore
    • 30 Keith Phipps
    A mud bath of sentiment, strained speechifying, and gloppy music.
    • 34 Metascore
    • 30 Keith Phipps
    It's also hard to figure out who this movie is supposed to delight: It's too scary for little kids and not nearly scary enough for anyone allowed to rent "The Ring" without getting carded.
    • 54 Metascore
    • 30 Keith Phipps
    Never recovering the energy of its early scenes, the heavily improvised Château becomes shapeless and dull.
    • 49 Metascore
    • 30 Keith Phipps
    Shakespeare hasn't had it this rough since Lemmy from Motörhead performed the opening soliloquy in "Tromeo And Juliet."
    • 39 Metascore
    • 30 Keith Phipps
    Director Rob Bowman seems at a loss as to what to bring to the film, which, even with its good choice of leads, plods along from one dragon fight to the next, all of them staged to showcase Fire's impressive CGI dragons, but none choreographed with any real flair.
    • 33 Metascore
    • 30 Keith Phipps
    Sadly, The Punisher is about little more than bullets hitting bone, and how good it might feel to be on the right end of a gun.
    • 31 Metascore
    • 30 Keith Phipps
    This must all make sense to Yanes, somehow, but the film plays like a private joke with no punchline.
    • 35 Metascore
    • 30 Keith Phipps
    Attempts at high spirits and the presence of Matthew Lillard all suggest that this is supposed to be a comedy.
    • 30 Metascore
    • 30 Keith Phipps
    Pettyfer and Wilde look the parts, but any scenes asking them to emote quickly turn disastrous.
    • 24 Metascore
    • 30 Keith Phipps
    Strange Magic certainly isn’t an ordinary sort of mess, and the personal nature of the project is still evident in the finished film.
    • 39 Metascore
    • 30 Keith Phipps
    The plot's profound implausibility wouldn't matter if the ideas and emotions behind it had any power.
    • 43 Metascore
    • 30 Keith Phipps
    When the film doesn’t strain for twinkly enlightenment, it stoops to find the easiest possible joke.
    • 37 Metascore
    • 30 Keith Phipps
    All the principals -- except, significantly, screenwriter Kenneth Lonergan -- reprised their roles for the sequel, and all seem confused as to why they returned.
    • 53 Metascore
    • 30 Keith Phipps
    What a shame that The Hunting Of The President feels like part of the problem.
    • 45 Metascore
    • 30 Keith Phipps
    Hoffman and Travolta are both good, but this toothless satire does little to justify their performances.
    • 37 Metascore
    • 30 Keith Phipps
    This is teen product at its most generic.
    • 43 Metascore
    • 30 Keith Phipps
    Though it soon devolves into a laughable mess, The Forgotten at least spends its first 10 minutes or so raising provocative questions.
    • 65 Metascore
    • 30 Keith Phipps
    Through it all, Muccino piles on one shrill confrontation after another. At times, he seems headed for the melodramatic turf owned and operated by Pedro Almodóvar, but where the young Almodóvar would have deployed a prankish wit and the older Almodóvar scraped toward the humanity beneath.
    • 25 Metascore
    • 30 Keith Phipps
    It isn’t just sub-par for Argento, it’s sub-par for virtually any director. It’s a stain on Dracula’s good name, and a waste of time for even those looking for the cheapest of vampiric thrills.
    • 42 Metascore
    • 30 Keith Phipps
    Rudnick is a wit, and his script allows everyone a decent one-liner or two. But the problem with one-liners is that they only last one line, leaving a whole movie around them that needs filling in.
    • 45 Metascore
    • 25 Keith Phipps
    The original was repulsive but impossible to shake. This remake is pure applause bait, which makes it barbaric in ways Peckinpah would never have dreamed.
    • 45 Metascore
    • 25 Keith Phipps
    Evening proves that there are such things as mistakes, by featuring two hours of bad choices and half-executed ideas.
    • 33 Metascore
    • 25 Keith Phipps
    A romantic triangle between werewolves and humans doesn't sound dull, but director Katja von Garnier seems to determined to drain the life out of it.
    • 49 Metascore
    • 25 Keith Phipps
    2012 is ultimately only about finding new ways to topple monoliths. Only they don’t feel that new.
    • 36 Metascore
    • 25 Keith Phipps
    It shouldn't, in other words, be that hard to make a good Conan movie. John Milius did a half-decent job with "Conan The Barbarian" in 1982, but this new film of the same name feels like a half-hearted revamp of virtually any of the Conan rip-offs that clogged up video-store shelves in the '80s.
    • 40 Metascore
    • 25 Keith Phipps
    It's thin material, to say the least, and manipulative to boot, putting women, children, and a SEAL father-to-be in jeopardy in ways more about servicing cheap thrills than any larger point about the perilous state of the world in 2012.
    • 33 Metascore
    • 25 Keith Phipps
    Aniston and Sandler, however, play characters too awful to deserve anyone better than each other. But what did we do to deserve them?
    • 25 Metascore
    • 25 Keith Phipps
    A witless reprise of '60s and '70s biker movies.
    • 30 Metascore
    • 25 Keith Phipps
    This is junk, a bunch of hard-R action scenes kept together by the thinnest of plots.
    • 25 Metascore
    • 25 Keith Phipps
    Garry Marshall has too much confidence that he can match the weighty issues here with the light comedy. He can't. Or at least he can't with this cast.
    • 45 Metascore
    • 25 Keith Phipps
    Bynes appears in practically every scene, and the film seems to have been designed as a showcase for her comedic skills, which she apparently left behind in the trailer.
    • 14 Metascore
    • 25 Keith Phipps
    Bravely or stupidly, both A Little Bit Of Heaven and its heroine charge on as if the introduction of terminal cancer didn't change things that much.
    • 29 Metascore
    • 25 Keith Phipps
    It's really gory and really dull. Mostly just dull.
    • 30 Metascore
    • 25 Keith Phipps
    Marmaduke saves its farts for the beginning and end, but the stink carries through the whole movie.
    • 34 Metascore
    • 25 Keith Phipps
    Dieckmann fails to notice that Thurman doesn’t have the comic chops for the material--she comes off more like a self-pitying loser than a witty, put-upon everywoman.
    • 18 Metascore
    • 25 Keith Phipps
    It's a potentially creepy setting that would give an innovative director a chance to do a lot with a little. Unfortunately, Lincoln isn't one of those.
    • 45 Metascore
    • 25 Keith Phipps
    Stone's film, more an act of boosterism than inquiry, is a tremendous missed opportunity.
    • 30 Metascore
    • 25 Keith Phipps
    What darkness the movie achieves comes solely from the lighting.
    • 40 Metascore
    • 25 Keith Phipps
    A couple of halfway decent action scenes do little to distract from the story’s mounting ludicrousness—two words: adamantium bullets—or a conclusion that’s only a little more satisfying than a projector breakdown. Maybe.
    • 33 Metascore
    • 25 Keith Phipps
    RV
    Apart from a funny turn by "Arrested Development's" Will Arnett as Williams' evil boss, nobody appears to be having a good time. And the feeling is infectious.
    • 31 Metascore
    • 25 Keith Phipps
    Adrien Brody delivers a colorful turn as a braided-and-tatted drug kingpin who thinks his pet toad talks to him (funny animal, check!), but High School is otherwise a tedious sludge through the same gray corridors where the same old gags wait around every turn.
    • 41 Metascore
    • 25 Keith Phipps
    Fans of the genre might appreciate the decidedly R-rated violence and nudity, but that's really all the film has to offer.
    • 19 Metascore
    • 25 Keith Phipps
    Adults should steer clear. Kids should be sent to it only if they’ve been extraordinarily naughty.
    • 17 Metascore
    • 25 Keith Phipps
    The first Human Centipede had audacity on its side. Human Centipede II has only excess.
    • 22 Metascore
    • 25 Keith Phipps
    Star Martin Lawrence, now the sole remaining element from the original "Big Momma's House" 11 years ago, looks pretty tired both in and out of makeup here.
    • 35 Metascore
    • 25 Keith Phipps
    Director Samuel Bayer, a veteran commercial and music video director responsible for Nirvana’s “Smell Like Teen Spirit Video” back when the original Nightmare series was still a going concern, brings a slick visual sense but not a hint of vision.
    • 31 Metascore
    • 20 Keith Phipps
    Craven's name doesn't appear anywhere in the credits of the film otherwise known as They. That's fitting, too, since even the worst Craven-directed movies have a lot more going for them than this painfully familiar bit of oogum-boogum.
    • 65 Metascore
    • 20 Keith Phipps
    However misguided, it’s clearly one from the heart, a movie that should never have happened, and one that’s hard to believe actually exists. Roar is one of a kind. With any luck, it always will be.
    • 47 Metascore
    • 20 Keith Phipps
    Gibson makes sure that no blow remains unfelt, and his approach can't help but stir the body, but he never touches the soul.
    • 14 Metascore
    • 20 Keith Phipps
    Only those attracted to "Waterworld" or "Last Action Hero" level big-budget disasters need bother with this one.
    • 41 Metascore
    • 20 Keith Phipps
    Torque has a sense of humor about itself, but the laughs stick in the throat.
    • 63 Metascore
    • 20 Keith Phipps
    There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
    • 15 Metascore
    • 20 Keith Phipps
    Gives virtually every cast member a shot at humiliation.
    • 24 Metascore
    • 20 Keith Phipps
    It mostly serves as a warning to stay away from future films involving director Nick Hamm and screenwriter Mark Bomback.
    • 28 Metascore
    • 20 Keith Phipps
    It's like a cross between "Heathers" and "Waiting For Guffman," had those movies been made by morons, for morons, and the cinematic equivalent of cow-tipping, only less graceful.
    • 47 Metascore
    • 20 Keith Phipps
    As much an inspirational email forward as a film, it’s helped by the work of a strong cast and some photography that makes Nebraska look like heaven on earth. That doesn’t make it persuasive, however.
    • 32 Metascore
    • 20 Keith Phipps
    Dylan's performance doesn't offer any clues. He's an icon and he delivers an icon's performance, literally: He could easily have been replaced by piece of wood with his face painted on it. That distance also means he remains more or less untouched by the embarrassment going on around him, even though it's largely his own creation.
    • 45 Metascore
    • 20 Keith Phipps
    There's "so bad it's good," but there's also "just plain bad," and Skeleton's pre-processed shittiness spoils the fun.
    • 30 Metascore
    • 20 Keith Phipps
    Clayburgh and Tambor demonstrate genuine chemistry, but the film keeps diluting it with awful attempts at comedy and worse attempts at drama.
    • 32 Metascore
    • 20 Keith Phipps
    Send a check to UNICEF and go see "Lost In Translation," "Mystic River," or "Kill Bill" instead.
    • 24 Metascore
    • 20 Keith Phipps
    Relies on the most time-tested basic moves of farce for laughs that just don't come.
    • 22 Metascore
    • 20 Keith Phipps
    Where 300 made a virtue of its low budget by stripping the visuals down to their essential elements, the shot-in-Bulgaria Legend Of Hercules mostly just looks rushed and cheap, only coming to life in a handful of fight scenes, and then only briefly.
    • 47 Metascore
    • 20 Keith Phipps
    Even if the time were somehow right for a madcap comedy about terrorists, What To Do In Case Of Fire would still look pretty lousy.
    • 31 Metascore
    • 20 Keith Phipps
    It's a worthless bit of low-grade satire that's as sophisticated and entertaining as a pile of twigs.
    • 46 Metascore
    • 20 Keith Phipps
    Lyne doesn't seem to get the novel, failing to incorporate any of Nabokov's black comedy -- which is to say, Lolita's heart and soul.
    • 19 Metascore
    • 20 Keith Phipps
    Looks like a video-game promo, has a story that plays like the fifth episode of a struggling syndicated action show, and feels like a headache waiting to happen.
    • 9 Metascore
    • 20 Keith Phipps
    A singularly uncharismatic leading man, the paunchy, expressionless, frequently inarticulate Sigel makes an unintentionally comic impression as a character named, naturally, Beans.
    • 37 Metascore
    • 20 Keith Phipps
    There’s little in Burying The Ex to suggest it’s a Dante movie at all, given how far it’s removed from the smart, exciting films he used to make. Maybe it’s best if everyone just pretends he wasn’t involved.
    • 40 Metascore
    • 20 Keith Phipps
    When the CGI snakes finally arrive, they look like they've just returned from a guest spot on "Charmed;" if the film had cut any more corners, it would have had to borrow graphics from an old Intellivision game.
    • 16 Metascore
    • 20 Keith Phipps
    Parlavecchio is kind of an asshole, and that–along with the stilted dialogue, clueless portrayals of women, and the fact that much of the plot has been lifted from Tom Perrotta's terrific novel "The Wishbones"–ranks among the film's main problems.
    • 45 Metascore
    • 20 Keith Phipps
    It's not the implausibility of its plot, the shallowness of its characters, its funereal pace, its tenuous understanding of teenage behavior, its commercial-ready TV-movie-style direction, or the fact that Pfeiffer and Williams may be the most implausible Italian-Americans since James Caan -- the film is most undone by its near-complete lack of genuine drama.
    • 27 Metascore
    • 20 Keith Phipps
    Perhaps Lee took a look at the script -- saw all the jokes about diarrhea, pubic lice, drunk old ladies, and drugged gravy, and thought, "Why bother?" Looking at the final results, it's hard to feel any other way.
    • 27 Metascore
    • 20 Keith Phipps
    The film could have turned out worse, but only via the addition of a Tom Green cameo, or an accident in which the actors caught on fire.
    • 37 Metascore
    • 20 Keith Phipps
    Never good, Crush takes a turn for the worse when it takes a turn for the serious. Its attempt to drop cartoon comedy for cartoon tragedy essentially thrusts the characters from Cathy into the panels of Mary Worth.
    • 38 Metascore
    • 20 Keith Phipps
    John Travolta should realize that people appreciate him, maybe more than ever, but that he should start making movies people won't feel ashamed for having seen if he wants to avoid co-starring with a talking lemur in the future.
    • 33 Metascore
    • 20 Keith Phipps
    It essentially uses the setup of an early Dick short story as a bookend to one long, dull chase scene.
    • 57 Metascore
    • 20 Keith Phipps
    Beloved has an almost gut-wrenching quality to it. But the same can't be said for the movie overall--it's a noble, ambitious failure, but a failure nonetheless.
    • 26 Metascore
    • 20 Keith Phipps
    This vanity project belongs to an audience of one.
    • 15 Metascore
    • 20 Keith Phipps
    Much poorly choreographed gunplay, many lovingly rendered head explosions, and some half-assed exposition about centuries-old, immortality-seeking pirates follow, with nothing to recommend House Of The Dead to anyone but the most undiscriminating zombie-movie fans.
    • 30 Metascore
    • 20 Keith Phipps
    In some ways it takes the right approach, attempting to mix moral lessons into a narrative rather than hit audiences over the head with them. But the lessons are so pat that every moment in which Pepper makes a good moral choice feels like an act of self-congratulation.
    • 21 Metascore
    • 20 Keith Phipps
    Either a thoroughly incomprehensible movie or a daring exercise in the cinema of disorientation, and a painful viewing experience either way.
    • 28 Metascore
    • 20 Keith Phipps
    Director Shawn Levy brings a yeoman-like joylessness to the project, spoiling whatever fun might have been had. Kutcher and Murphy seem game enough, and it's a testament to their charisma that they're the hardest element of the film to hate.
    • 41 Metascore
    • 20 Keith Phipps
    A grimy mess set among L.A.'s speed-abusing "tweakers," Salton has neither the substance to justify first-time feature director D.J. Caruso's pretentious flourishes, nor the skill to make those flourishes work on their own terms.
    • 17 Metascore
    • 20 Keith Phipps
    Extreme Ops seems to have only the slightest grasp of its own absurdity (or its own horribleness), which makes it almost charming.
    • 22 Metascore
    • 16 Keith Phipps
    Passion Play doesn't overreach so much as it overindulges in aimless pacing, inert acting, and a romance maudlin enough to make "Twilight" look restrained.
    • 17 Metascore
    • 16 Keith Phipps
    Actually, it's pretty much the definition of absurd.
    • 66 Metascore
    • 10 Keith Phipps
    It's... directed by Andy Tennant ("It Takes Two") with all the flair of an episode of "7th Heaven", making it that much more worth avoiding.
    • 12 Metascore
    • 10 Keith Phipps
    A film about as funny as a seeping wound.
    • 31 Metascore
    • 10 Keith Phipps
    In short, every element suggests Envy ought to be amusing, but the only comparably disastrous movie in recent memory involves Ben Affleck, Jennifer Lopez, and a rapping retarded man.
    • 67 Metascore
    • 10 Keith Phipps
    Tough to respect a documentary that doesn't play fair. Anyone interested in the subject would be better off spending Life And Debt's torturous 80-minute running time with a good article on the topic.
    • 11 Metascore
    • 10 Keith Phipps
    An unintended gift to midnight-movie programmers and students of the bizarre, Roberto Benigni's Pinocchio could have become a "Howard The Duck" -- or "Battlefield Earth"-like synonym for cinematic miscalculation, were its title not already so familiar.
    • 27 Metascore
    • 10 Keith Phipps
    It's all handled so poorly that it comes off as more ghoulish than anything else, although those who find the word "bong" instantly entertaining and are easily distracted by the presence of flickering images may be amused.
    • 37 Metascore
    • 10 Keith Phipps
    Like everything else in this needless remake—from a heartless performance by Williams to the patented kiddie-sadism of screenwriter John Hughes—it's sloppily grafted onto a skeletal version of the original, with scenes lifted from the source and reinserted in a manner that doesn't make sense.
    • 50 Metascore
    • 10 Keith Phipps
    A conclusion featuring a dizzying string of betrayals that leads to a confusing anti-climax robs the film of even cheap action thrills, making Hoodlum an almost thoroughly forgettable experience, albeit probably the only film in history to unite Queen Latifah and The Mod Squad's Clarence Williams III.
    • 28 Metascore
    • 10 Keith Phipps
    Clooney fails to make much of an impression as The Batman, but to make an impression amongst all the garish theatrics, he would pretty much have to shout his dialogue in rhyming verse, backwards.
    • 32 Metascore
    • 10 Keith Phipps
    While the special effects are impressive, countless films have already proven that if you sink enough money into a project, you can at least make it look good. Unfortunately, good looks are all Godzilla has going for it.
    • 9 Metascore
    • 10 Keith Phipps
    Dirty Love offers a series of desperate would-be comic moments.
    • 28 Metascore
    • 10 Keith Phipps
    Until Timeline reaches its flaming-trebuchet-siege finale -- which should impress anyone who's never seen "The Two Towers" -- it has the stirring production values of an episode of the Tia Carrere action series "Relic Hunter," but with only a fraction of the acting talent and intellectual heft.
    • 25 Metascore
    • 0 Keith Phipps
    It fails on every conceivable level.
    • 14 Metascore
    • 0 Keith Phipps
    Does this even count as a movie?
    • 33 Metascore
    • 0 Keith Phipps
    More of a throwback to a period in the '70s when big-screen comedies like "FM" and "Thank God It's Friday" seemed to take all their cues from bad sitcoms, putting rice-paper-flat characters into vibrant settings and giving them nothing to do but exchange faux witty dialogue without the much-needed cues of a laugh track.
    • 12 Metascore
    • 0 Keith Phipps
    It's almost fascinating to witness just how lousy The Avengers really is.
    • 7 Metascore
    • 0 Keith Phipps
    How is Paris Hilton in her first starring role to receive a national release? Pretty bad, actually. She's limited to a single, all-too-familiar expression of smug self-satisfaction, and she delivers her lines in a tone somewhere between "seductive" and "dish-soap commercial."
    • 24 Metascore
    • 0 Keith Phipps
    Unpleasant when it isn't dull, Apollo 18 never sells the lost-footage illusion, and never compensates for it with scares. Jolts, sure. Like so many lazy horror directors, López-Gallego knows how to startle, but not how to frighten.
    • 15 Metascore
    • 0 Keith Phipps
    Zany antics of the most painful sort.
    • 33 Metascore
    • 0 Keith Phipps
    Every once in a while, a film limps into theaters so stitched together, it's a wonder it doesn't rip apart in the projector. Jonah Hex is such a film.
    • 35 Metascore
    • 0 Keith Phipps
    At the very least, this film should hush those who insist that Diaz has talent beyond visual appeal, but it's unfair to single out her relatively minor offenses when there's so much else to hate about A Life Less Ordinary, an embarrassment for all concerned.
    • 20 Metascore
    • 0 Keith Phipps
    The Last Airbender isn't that much different from the rest of this summer's generally dire multiplex fare-from "The A-Team" to "Jonah Hex"... But it is remarkable in one respect: It's the worst of them.

Top Trailers