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 4.2 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Das Boot
Lowest review score: 0 200 Cigarettes
Score distribution:
1062 movie reviews
    • 76 Metascore
    • 80 Keith Phipps
    Gunn, a B-movie enthusiast who got his start at Troma, has found a way to bring funkiness and humanity to a galaxy-spanning blockbuster, one filled with dogfights and floating fortresses, but also with heroes quick with a quip, fast on the draw, and more than a little beaten up by the universe.
    • 82 Metascore
    • 80 Keith Phipps
    Neither Molina nor Lithgow are stranger to big performances, but here, they offer studies in restraint, underplaying dramatic moments in ways that make them all the more powerful.
    • 85 Metascore
    • 80 Keith Phipps
    It isn’t a hopeful story, but it is a story of how committed people have fought and struggled to create the possibility for hope in the future.
    • 83 Metascore
    • 80 Keith Phipps
    Alternating interviews, observational passages, and conversations with past students, Hawke’s low-key film never pushes too hard for effect and lets any drama emerge slowly.
    • 66 Metascore
    • 80 Keith Phipps
    Whedon’s handling of the personal material is what makes Age Of Ultron extraordinary. Remarkably for a film so overstuffed, no character gets neglected.
    • 85 Metascore
    • 80 Keith Phipps
    Amy
    She was, the documentary argues, a complex artist, one of awe-inspiring talent and many frustrating contradictions, and one who deserved better than to become just another punchline on her way to the grave. Kapadia provides a heartbreaking reminder of what we lost when we lost her.
    • 68 Metascore
    • 75 Keith Phipps
    Ultimately, Why We Fight reveals itself as yet another leftie doc with an anti-war agenda. But the mere fact that it takes time to ask questions and listen to opposing viewpoints sets it apart from the pack.
    • 62 Metascore
    • 75 Keith Phipps
    Mostly, it's content to remain a compelling, visually striking political mystery with some big ideas woven into it--subversive notions about integrity, liberty, and political change.
    • 61 Metascore
    • 75 Keith Phipps
    It's hard to shake the sense that there's less here than meets the eye, but what meets the eye burns with a rare intensity.
    • 64 Metascore
    • 75 Keith Phipps
    Mol nails it, in a performance that should earn her a comeback on a Heath Ledger-like scale.
    • 90 Metascore
    • 75 Keith Phipps
    We all lived through this not so long ago; it's an odd thing to make a film whose most striking effect is its ability to bring the feelings of Sept. 11 flooding back, then close on a profoundly disturbing note. A crasser film would have been easier to digest and dismiss. It's hard to do either with United 93, and that's either its genius or its folly.
    • 68 Metascore
    • 75 Keith Phipps
    Director Lian Lunson keeps the tone reverent, making I'm Your Man the cinematic equivalent of a testimonial dinner. But there's a place for that kind of film, particularly for subjects who've earned it.
    • 68 Metascore
    • 75 Keith Phipps
    Director Gil Kenan has a feel for dizzying "camera" work, and the screenplay combines witty gags with a sweet, albeit familiar, suggestion that kids shouldn't be in any great hurry to be anything but kids.
    • 51 Metascore
    • 75 Keith Phipps
    Williams delivers a solid, twinkle-free (though closed-off) performance, but the film as a whole can't decide what it wants to be.
    • 65 Metascore
    • 75 Keith Phipps
    As with her debut feature, "Blue Car," Moncrieff treats sensational material with a disarming matter-of-factness that ultimately makes a deeper impression.
    • 74 Metascore
    • 75 Keith Phipps
    Before reaching a bittersweet finale that doesn't ring as loudly as it should, The Italian starts to look too much like a neo-realist "Home Alone" sequel, as Spiridonov outwits his pursuers in one scene after another.
    • 59 Metascore
    • 75 Keith Phipps
    The film's a bit like a dessert that could have been dinner, particularly with so many winning elements (including songs by Fountains Of Wayne's Adam Schlesinger and a brief appearance from a wickedly sleazy Campbell Scott). But dessert isn't a bad thing either, particularly when it's prepared with this much heart.
    • 60 Metascore
    • 75 Keith Phipps
    The film is clearly an act of boosterism, and it makes a pretty good case for the Glastonbury cause.
    • 82 Metascore
    • 75 Keith Phipps
    It's well-acted and filled with striking compositions, but director Mira Nair has trouble with a different kind of balance.
    • 65 Metascore
    • 75 Keith Phipps
    In the end, it's all a bit too self-consciously mysterious and Lawrence leans a bit too much on the atmosphere to do the work for him as he builds to a frustrating ending. But his vision of a place haunted by a restlessness it can't define proves unsettlingly infectious.
    • 82 Metascore
    • 75 Keith Phipps
    An engaging thriller done in the Cronenberg style is still worth anyone's time. And this one boasts memorable turns from Naomi Watts, Armin Mueller-Stahl, and Vincent Cassel.
    • 65 Metascore
    • 75 Keith Phipps
    Novelist-turned-writer/director Peter Hedges follows up his "Pieces Of April" debut with a comedy that's at once overstuffed and surprisingly subtle.
    • 66 Metascore
    • 75 Keith Phipps
    As an acting showcase that builds to some unexpectedly moving moments, Elegy has much to recommend it. Had Coixet found better ways to connect those moments, she might have REALLY had something to rival what Roth does on the page.
    • 73 Metascore
    • 75 Keith Phipps
    It's more Thompson-for-beginners than an exhaustive inquiry, but as introductions go, it's thorough and thoughtful.
    • 58 Metascore
    • 75 Keith Phipps
    It's dark and exciting, but with little breathing room.
    • 56 Metascore
    • 75 Keith Phipps
    Snyder's Watchmen keeps moving so assuredly, it's nearly impossible not to get swept along.
    • 57 Metascore
    • 75 Keith Phipps
    It's not like the screens are so flooded with decent movies that we couldn't use another, particularly a timely, clear-eyed thriller about the Middle East and the role of the U.S. therein.
    • 63 Metascore
    • 75 Keith Phipps
    This feels like a second-shelf Coen comedy, particularly when compared to their no-less-shaggy "The Big Lebowski."
    • 69 Metascore
    • 75 Keith Phipps
    Yet for all Ashes' frustrations, it's still a gorgeous piece of filmmaking.
    • 63 Metascore
    • 75 Keith Phipps
    Eastwood creates a tone that's at once stately and unsettling, allowing a lot of breathing room for Jolie's sad, unyielding performance. She anchors a film that needs an anchor the further it goes along.

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