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 2.7 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
    • 67 Metascore
    • 75 Keith Phipps
    It's all so uneasily compelling and quietly moving, it might be too much to ask her to sustain it through the conclusion.
    • 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.
    • 62 Metascore
    • 75 Keith Phipps
    The American romantic comedy has grown distressingly moribund lately, but anyone looking to freshen up the genre a bit need look no further than Michel Leclerc's The Names Of Love.
    • 83 Metascore
    • 75 Keith Phipps
    Demme’s excitement for Young and his music is evident throughout, and the songs fit comfortably in the unvarnished setting.
    • 60 Metascore
    • 75 Keith Phipps
    The film is clearly an act of boosterism, and it makes a pretty good case for the Glastonbury cause.
    • 47 Metascore
    • 75 Keith Phipps
    Whenever The Box threatens to crash, Kelly summons up another haunting image or heartfelt, albeit thin, moral inquiry. It’s an unwieldy, ambitious, one-of-a-kind film waiting for a cult to find 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.
    • 60 Metascore
    • 75 Keith Phipps
    It's refreshingly unformulaic, but a rambling mess. It's also tremendously funny.
    • 51 Metascore
    • 75 Keith Phipps
    The situations sometimes feel contrived, but the characters never do, particularly because Galifianakis remains simultaneously charming and unrelentingly irritating.
    • 67 Metascore
    • 70 Keith Phipps
    Some of the gags Bruce Wagner’s script lands about the business of Hollywood and the insanity it breeds call out for rimshots that Cronenberg never supplies. The silence can be awkward, but it’s just as often fascinating.
    • 67 Metascore
    • 70 Keith Phipps
    In this long, slow fall from grace, unceremonious nudity and half-hearted sex begin to look like a mockery of a paradise lost.
    • 64 Metascore
    • 70 Keith Phipps
    The amiable but thin comedy Robots does have a little more going on, but not quite enough to make a difference, although it looks good enough to distract viewers from that fact for a while.
    • 66 Metascore
    • 70 Keith Phipps
    Mostly, it's just a pleasure to watch Keaton and Nicholson learning new steps in an old dance, stumbling to grab at happiness before it's too late.
    • 75 Metascore
    • 70 Keith Phipps
    Like Ang Lee's "Hulk," it's a fusion of arthouse and multiplex instincts, and though it seems unlikely to satisfy anyone, it's just as unlikely that anyone who sees it will forget it soon.
    • 75 Metascore
    • 70 Keith Phipps
    Muscle Shoals’ story has needed telling, and Camalier packs that telling with memorable stories and music—though the film sometimes substitutes admiration for investigation, paving over conflicts and moving on to the next amazing piece of music to get recorded in town.
    • 59 Metascore
    • 70 Keith Phipps
    The film retains much of what worked about the first film, and it brings a similarly smart, patient, visually striking approach to the gags.
    • 52 Metascore
    • 70 Keith Phipps
    The characters occupy homes where nothing is ever out of order, but Barthes creates a sense of unease that never lets up, and a suggestion of chaos underlying all the neatly arranged possessions in the Bovary home.
    • 44 Metascore
    • 70 Keith Phipps
    Fast-paced and ambitious, it never bores, and Soderbergh proves himself interesting to watch in addition to being gifted behind the camera.
    • 74 Metascore
    • 70 Keith Phipps
    Interstellar often seems afraid to let any development go unpacked and uncommented upon, except for a handful of points that dive into the action and expect viewers to catch up. The film is at its best in these moments, when it’s unafraid of challenging storytelling, particularly since Interstellar never has trouble finding visuals to match its heady concepts.
    • 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.
    • 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.
    • 82 Metascore
    • 70 Keith Phipps
    What it became is essentially one long free-fall from destitution to despair.
    • 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.
    • 77 Metascore
    • 70 Keith Phipps
    Paddington is a charmer, portrayed as a little guy whose unflagging goodness makes it easy to forgive his clumsiness. That’s the one detail from Bond’s book any adaptation has to get right, and this one nails it.
    • 74 Metascore
    • 70 Keith Phipps
    As absurd as the situation gets--and the film occasionally launches into surreal asides that only heighten the absurdity--director and star both keep it grounded in the situation's emotions.
    • 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.
    • 58 Metascore
    • 70 Keith Phipps
    What it retains is a playful sense of style, that combines with an anything-goes spirit.
    • 49 Metascore
    • 70 Keith Phipps
    Plotnick’s mix of straight-faced absurdity and unexpected poignance doesn’t always gel, but it also makes the film more resonant than a straightforward spoof could ever be, and adds another layer to the film’s central joke: You can take to the stars, but the past will always travel with you.
    • 79 Metascore
    • 70 Keith Phipps
    Chandor’s film suggests more than it can explore, and a contrived climax makes the film seem like less than the sum of what’s preceded it.
    • 63 Metascore
    • 70 Keith Phipps
    Not every moment works, particularly in the draggy middle section, but the spirit of the thing still carries it along.

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