For 1,015 reviews, this critic has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 City of God
Lowest review score: 0 Apollo 18
Score distribution:
1,015 movie reviews
    • 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.
    • 63 Metascore
    • 70 Keith Phipps
    Trashy enough to envelop its sex scenes in aerobicized glamour (a Lyne trademark), so the fact that it takes itself so seriously almost counts as a daring move.
    • 48 Metascore
    • 70 Keith Phipps
    xXx
    Diesel clearly has fun playing a character so bullish that his skin seems to be made of leather, and he's self-conscious enough to pull it off even after the film surrenders to formula.
    • 55 Metascore
    • 70 Keith Phipps
    An extraordinary story uniquely suited to Herzog's abilities, it eventually becomes easy to accept Ahola as a nearly mute witness to the obsessives around him, most immediately Tim Roth in a striking performance as Ahola's employer.
    • 77 Metascore
    • 70 Keith Phipps
    At times, Bani Etemad succeeds only too well at capturing the confusing rush of Adineh's family life--the film presents more subplots than it can follow thoroughly, until its final act snaps all that's come before into sharp focus.
    • 70 Metascore
    • 70 Keith Phipps
    Another actor might not have been able to carry the film, given such a creepily monomaniacal character, but Hoffman lets the humanity soak through, registering split seconds of panic when he's on the verge of getting caught, then just as quickly creating and working a new plan.
    • 58 Metascore
    • 70 Keith Phipps
    Mike Nawrocki and Phil Vischer, who co-write, co-direct, and supply much of the voice talent, soft-pedal the proselytizing and explicitly Christian elements in favor of gags and gentle lessons, keeping the pace fast and the scenery colorful.
    • 90 Metascore
    • 70 Keith Phipps
    The film is unfortunately about little more than its potentially mind-boggling plot and structure.
    • 51 Metascore
    • 70 Keith Phipps
    Despite a shaky start and the presence of questionable elements throughout, by the time it arrives at its finale -- which copies Return Of The Jedi's triple-climax structure -- The Phantom Menace has won its place alongside the original Star Wars trilogy.
    • 65 Metascore
    • 70 Keith Phipps
    The film's generous spirit, disarming mixture of beauty and brutality, and gentle, insistent sweep make it easy to surrender to it anyway.
    • 52 Metascore
    • 70 Keith Phipps
    Though initially off-putting, Chick's distanced direction pays off as XX/XY goes along.
    • 64 Metascore
    • 70 Keith Phipps
    Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.
    • 82 Metascore
    • 70 Keith Phipps
    What it became is essentially one long free-fall from destitution to despair.
    • 59 Metascore
    • 70 Keith Phipps
    Hoffman and Sarandon work well together, and Gyllenhaal, who's carved out a niche for himself as the new face of internalized conflict, fits nicely into a role Hoffman would have made a meal of 30 years ago.
    • 64 Metascore
    • 70 Keith Phipps
    In just about every way, Insurrection seems as if everyone involved is still stuck in the weekly grind of turning out the series, but the results don't disappoint too terribly.
    • 67 Metascore
    • 70 Keith Phipps
    Here's a strangely flawed and strangely satisfying movie.

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