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

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Dark Knight
Lowest review score: 0 Kung Pow: Enter the Fist
Score distribution:
1,063 movie reviews
    • 70 Metascore
    • 75 Keith Phipps
    Soderbergh creates an unnerving mosaic from the smaller pieces, a vision of a world that's simultaneously tightly knit, delicately balanced, and prone to breakdown, whether due to disease, bad ideas, or unenlightened self-interest.
    • 51 Metascore
    • 75 Keith Phipps
    Rather than trying to overwhelm viewers by overloading the senses, John Carter's effects strive to create something new using as their foundation a book that's fired imaginations for the past century.
    • 82 Metascore
    • 75 Keith Phipps
    That's a lot for any film to unpack, and "The Last King Of Scotland" director Kevin MacDonald deserves a lot of credit simply for keeping the narrative coherent.
    • 72 Metascore
    • 75 Keith Phipps
    Like "The Girlfriend Experience," Magic Mike doubles as an of-the-moment film about life in a down economy, so much so that it would play like a bait-and-switch if it didn't just as thoroughly deliver as a movie about stripping.
    • 50 Metascore
    • 75 Keith Phipps
    Fortunately, it's funny enough that it doesn't have to be subtle. In fact, subtlety would just get in the way.
    • 58 Metascore
    • 75 Keith Phipps
    In Trouble With The Curve, Eastwood plays a reminder of an older way of doing things, a professional whose likes the world won't see again once he's gone. The role isn't much of a stretch.
    • 66 Metascore
    • 75 Keith Phipps
    While Seven Psychopaths sometimes hits the philosophical shallows, its pleasures still run deep.
    • 55 Metascore
    • 75 Keith Phipps
    Measured scene by scene, the film isn't always successful, and its transcendent moments make it easy to wish it could reach that elevated pitch more often. But Cloud Atlas is the sort of work where the big picture matters more than the details. It's an imperfect film of great daring and tremendous humanity, a work of many stories, but a singular achievement.
    • 86 Metascore
    • 75 Keith Phipps
    Lincoln is built around a magnetic Day-Lewis turn, and the film is a memorable, sometimes stirring look at how even the most righteous bill must struggle, and even cheat, to become a law. It demands a bigger stage than the one it's given here.
    • 45 Metascore
    • 70 Keith Phipps
    The fact that Full Frontal comes together so well removes any doubt that anyone other than a master filmmaker is pulling the strings.
    • 56 Metascore
    • 70 Keith Phipps
    Nature lacks a little of Malkovich's freshness, but that's just about all it lacks.
    • 69 Metascore
    • 70 Keith Phipps
    Unlike in similar past efforts, Sayles never finds a way to bring it all together. Individual moments of considerable impact alternate with stretches that go nowhere.
    • 66 Metascore
    • 70 Keith Phipps
    It may boil down to little more than a minor variation on Four Weddings' formula, but it's an interesting and entertaining one.
    • 63 Metascore
    • 70 Keith Phipps
    Occasionally resembling an episode of Seinfeld taken to the big screen, waydowntown shares that show's ability to mine mundane details for humor, and its Tomorrowland-gone-awry setting provides plenty of raw material.
    • 73 Metascore
    • 70 Keith Phipps
    A lot goes on, and it doesn't always make sense. But the cast embodies Rendell's ability to incorporate shrewd observations on human behavior into the framework of a crime story, and Miller has a great eye for the places on the Paris outskirts where the lives of haves and have-nots intersect.
    • 57 Metascore
    • 70 Keith Phipps
    As pleasant stimulation for the eye and ear, it's two hours of sumptuousness, but anyone looking for more won't find it here.
    • 54 Metascore
    • 70 Keith Phipps
    Twin Dragons is still a Chan film, albeit not a great one. As fans have figured out by now, that goes a long way.
    • 74 Metascore
    • 70 Keith Phipps
    While McKellen's sharp performance provides the main attraction, the film wouldn't work without both Fraser, who brings something extra to a character who could easily have been a mere lunk, and director Bill Condon's careful integration of larger themes.
    • 69 Metascore
    • 70 Keith Phipps
    His Secret Life's languid pace and general aimlessness keep getting in the way.
    • 65 Metascore
    • 70 Keith Phipps
    As disappointing-but-worthwhile films go, you could do a lot worse.
    • 73 Metascore
    • 70 Keith Phipps
    Though High Art has more than a few awkward touches--all the male characters take up less than one dimension, for example--it's otherwise a nicely underplayed, memorable, beautifully filmed movie.
    • 61 Metascore
    • 70 Keith Phipps
    While fleeting moments from Pearce and Luis Guzmán (as Caviezel's loyal servant) suggest the film might have been even more fun had they been allowed to loosen up a bit, the finished product still offers little cause for complaint.
    • 78 Metascore
    • 70 Keith Phipps
    Frears has directed a surprisingly sturdy hybrid of thriller and social melodrama, even if the thrills turn ludicrous and the social critique grows a little pat.
    • 71 Metascore
    • 70 Keith Phipps
    Deschanel and Schneider--who both give rich, funny performances--and everyone around them have inner lives that don't always translate into words. When they speak, it's usually in dialogue halfway between poetry and inarticulate fumbling.
    • 58 Metascore
    • 70 Keith Phipps
    The atmosphere makes a deeper impression than the drama, which might represent a failing on Nelson's part, but could it be avoided? His film portrays the pinholes of light in a place of otherwise unrelenting darkness.
    • 72 Metascore
    • 70 Keith Phipps
    Mendes' second effort plays like a familiar song transposed to a minor key, a gangland fable soaked in portent and fatalism until its familiarity ceases to be an issue.
    • 61 Metascore
    • 70 Keith Phipps
    A low-key charmer that balances half a dozen winning performances, Welcome To Collinwood's momentum occasionally stalls, and it doesn't always produce laughs.
    • 68 Metascore
    • 70 Keith Phipps
    Jordan invests attention in even the most throwaway moments and marginal characters, and his care makes the film a sustained, low-key pleasure.
    • 55 Metascore
    • 70 Keith Phipps
    Though indisputably a thriller, Charlie abandons itself to little cinematic rhapsodies, self-reflexive asides, and montages of Paris locations cued to a soundtrack of cool French pop, all of which often seems more vital than the main order of business.
    • 63 Metascore
    • 70 Keith Phipps
    There's something appealing about an unapologetic love story set in an office that's only a few clicks off from looking like a fetish dungeon, and Spader and Gyllenhaal make sure that the romance, kinks and all, carries the day.

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