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 3.4 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 Kung Pow: Enter the Fist
Score distribution:
1062 movie reviews
    • 74 Metascore
    • 80 Keith Phipps
    Sin City draws on the cumulative history of both mediums, creating a pastiche that would have been technologically impossible even three years ago. Its creators invent a queasily intoxicating new world.
    • 67 Metascore
    • 80 Keith Phipps
    It's important for the film to establish the concentration camp as a hell on earth from the start, but Schlöndorff has more in mind than creating another reminder of the inhumanity of fascism.
    • 82 Metascore
    • 80 Keith Phipps
    Pawlikowski's off-balance compositions and affection for odd close-ups suggest the influence of Wong Kar-Wai, but the film's low-key observational spirit owes as much to Mike Leigh.
    • 71 Metascore
    • 80 Keith Phipps
    The satire is headline-fresh, the action scenes keep pace with summer blockbusters, and no one shoots an evisceration with as much skill.
    • 53 Metascore
    • 80 Keith Phipps
    Zombie fills The Devil's Rejects with thrilling setpieces, pays homage to his inspirations without outright ripping them off (most of the time), brings back some cult-movie icons (hello, Mary Woronov and E.G. Daily), and works in some profanely clever dialogue.
    • 78 Metascore
    • 80 Keith Phipps
    Just as memorable and emotionally intense as any of Wong's films. It's a mood as much as a movie.
    • 87 Metascore
    • 80 Keith Phipps
    Herzog is still the only person who could have made Grizzly Man. His admiration for Treadwell has its limits, but he understands, better than most directors, what it means to follow dreams into the belly of the beast.
    • 59 Metascore
    • 80 Keith Phipps
    While director Joe Mantello (who also helmed the stage production) often uses the opened-up space of the movie well, he doesn't always avoid some of the common pitfalls that come with adapting plays.
    • 66 Metascore
    • 80 Keith Phipps
    It accumulates weight as it goes along, ultimately becoming as thoughtful and emotionally involving as it is beautiful to behold.
    • 81 Metascore
    • 80 Keith Phipps
    Ed Harris and William Hurt deliver inspired turns as the villains.
    • 74 Metascore
    • 80 Keith Phipps
    Investing a lot of time on each corner of his three-sided character piece, director Ira Sachs (who co-wrote the film with Michael Rohatyn) has created a film as dramatically intense as it is opaque.
    • 75 Metascore
    • 80 Keith Phipps
    Heavy is the kind of deliberately slow-paced character study that allows carefully realized performances to shine.
    • 82 Metascore
    • 80 Keith Phipps
    Most importantly, the director, script, and cast (rounded out by Judi Dench and well-placed imports Donald Sutherland and Jena Malone) all recognize that Austen is about much more than pretty costumes and knowing looks.
    • 62 Metascore
    • 80 Keith Phipps
    Ramis is at his best when dealing with men facing a soul-defining crisis, and he finds plenty to work with in Russo and Benton's script, which offers Russo's trademark blend of colorful characters and slow-building dilemmas. The Ice Harvest finds them all operating in top form in as dark a territory as they've ever explored.
    • 76 Metascore
    • 80 Keith Phipps
    Gaghan brings in many more players, but edits the film into the lean, propulsive shape of a thriller. That ends up being something of a problem; some sub-plots never fully untangle and characters get lost as Gaghan rushes toward a conclusion that, taken on its own, is the stuff of a slightly hysterical leftie pamphlet.
    • 87 Metascore
    • 80 Keith Phipps
    It allows Lee to draw out a theme that's been present in his films from the start: the notion that repressed passion does no one any good. In Brokeback Mountain, it turns vibrant men ghostly.
    • 69 Metascore
    • 80 Keith Phipps
    However complicated the historical issues at play, the poetic introspection that consumes The New World's characters could only take place in a Terrence Malick movie. But, here at least, history and lyrical drift go together surprisingly well.
    • 66 Metascore
    • 80 Keith Phipps
    While most literary adaptations look flat and pretty, the fine performances here set Emma apart.
    • 78 Metascore
    • 80 Keith Phipps
    For all the memorable dialogue and elegant camerawork (courtesy of Javier Aguirresarobe), it’s Blanchett’s movie, and her performance tells yet another story, that of a woman losing control.
    • 76 Metascore
    • 80 Keith Phipps
    It finds no clear answers, but that suits both the horrific event and this haunting, elusive film.
    • 89 Metascore
    • 80 Keith Phipps
    As specific as the film is to Italy at the turn of the turbulent 1970s, it’s also a film about how power first corrupts, then makes mad those who possess it.
    • 73 Metascore
    • 80 Keith Phipps
    Big
    It’s a funny, bittersweet film that opens as a cautionary tale about growing up too fast, but deepens into a movie about the unplumbable gulf between childhood and adulthood, and what it feels like to stand on either side, wishing for a way over.
    • 83 Metascore
    • 80 Keith Phipps
    For a film that clearly required a small army to make, it often feels thrillingly off-the-cuff, which keeps with The Lego Movie’s themes of creativity and weirdness: Nobody’s following an instruction book with this one.
    • 64 Metascore
    • 80 Keith Phipps
    While Michôd never satisfactorily develops the central relationship, The Rover is still a showcase for two strong performances.
    • The Dissolve
    • 84 Metascore
    • 80 Keith Phipps
    Evans is a revelation here, delivering a haunted performance that his previous work has only suggested he had in him. He gives the film a solid center, allowing others in the cast to explore the extreme.
    • 79 Metascore
    • 80 Keith Phipps
    Yet for all the heady ideas at play, Dawn Of The Planet Of The Apes remains a visceral film, one of movement, action, unexpected developments, and disarming poignance.

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