For 1,366 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
Average review score: 64
Highest review score: 100 Lincoln
Lowest review score: 0 A Good Old Fashioned Orgy
Score distribution:
1,366 movie reviews
    • 56 Metascore
    • 50 Michael Phillips
    By the time Perfume arrives at its ridiculous mass orgy, staged at the gallows where Grenouille is supposed to meet his end, you really would rather see him meet his end than endure a ridiculous mass orgy.
    • 32 Metascore
    • 50 Michael Phillips
    If you want a relationship comedy that feels like last year's stuff, doesn't go far enough in any direction and is made watchable only by an overqualified ensemble, there's The Ex.
    • 43 Metascore
    • 50 Michael Phillips
    Making her feature-film directorial debut, Grant is going for an everyday conversational texture and a sense of life's curveballs. But the results wander and you never really believe them.
    • 45 Metascore
    • 50 Michael Phillips
    This film was not based on a video game, but that's the vibe and the aesthetic at work here: YEAH! KILL!, followed by a few muttered expressions of the horror, the horror.
    • 65 Metascore
    • 50 Michael Phillips
    Apted and his collaborators are so in awe of their subject they neglect to bring him to full human life.
    • 29 Metascore
    • 50 Michael Phillips
    As Premonition zigzags toward its solution it loses its head completely, packing a risible final reel with left-field religious disquisitions and heartfelt warnings against infidelity.
    • 53 Metascore
    • 50 Michael Phillips
    A screwy assassination thriller for these murky times, it takes half its pages from Soldier of Fortune and the other half from links provided by conspiracytheories-zapoppin.org.
    • 31 Metascore
    • 50 Michael Phillips
    It lacks the rutting nuttiness of "Basic Instinct," even as it recycles much of that film's kiss-or-kill premise.
    • 47 Metascore
    • 50 Michael Phillips
    Kasdan has inherited much of his father's surface skills; he knows how to round out a scene and keep things on story point. But In the Land of Women doesn't for a moment feel messy and chaotic where it counts.
    • 43 Metascore
    • 50 Michael Phillips
    Routine cinema but rich history.
    • 58 Metascore
    • 50 Michael Phillips
    I doubt even rabid fans of the first two will consider Shrek the Third a worthy addition to the franchise.
    • 45 Metascore
    • 50 Michael Phillips
    It is passable comic book stuff, dumb and loud. Loud. LOUD.
    • 79 Metascore
    • 50 Michael Phillips
    Feels constrained and rather dutiful, no matter how passionate these people are about what they're observing.
    • 62 Metascore
    • 50 Michael Phillips
    I did like seeing the (fakey-looking) sheep take flying neck-high leaps at various human throats, in scenes recalling the killer rabbit in "Monty Python and the Holy Grail." And I enjoyed the Kiwi dialects. And I suspect King's next film will be better.
    • 37 Metascore
    • 50 Michael Phillips
    The film is half rutting goat, half preacher.
    • 50 Metascore
    • 50 Michael Phillips
    After seeing No Reservations you'll be hungry for a really top-flight meal. And, to go with it, a better film.
    • 46 Metascore
    • 50 Michael Phillips
    Turns out to be nothing special. Well, the music is. The storytelling is not.
    • 66 Metascore
    • 50 Michael Phillips
    It's the big stuff that doesn't really work, at least well enough to be called special.
    • 56 Metascore
    • 50 Michael Phillips
    Ruthlessly skilled as Atkinson is, the Bean persona of generic, maniacally grinning ineptitude owes most of its appeal to seeing just how far an actor can pull a face without pulling a muscle.
    • 46 Metascore
    • 50 Michael Phillips
    They should've thrown everything away except the title and the outline. That's what the "Devil Wears Prada" creative team did, and that film turned out a lot richer than this one.
    • 63 Metascore
    • 50 Michael Phillips
    If it gets people thinking about which light bulbs they buy and their current gas mileage and such, then it's good to have it in the world. It is, however, a panicky blur as documentaries go.
    • 45 Metascore
    • 50 Michael Phillips
    Enough with the snatching, already.
    • 51 Metascore
    • 50 Michael Phillips
    Robert Benton’s recent films have been vexing combinations of gentility and stiffness, and despite a fair bit of nudity "Feast of Love" behaves itself all too well. It’s as neat as a pin; it ties up every loose end in careful "Playhouse 90" style. Despite some awfully smart actors, Benton’s movie made me long for a few interrupted sentences and the occasionally conflicted character.
    • 61 Metascore
    • 50 Michael Phillips
    Outside the bedroom, the wartime swirl of intrigue never develops beyond postcard imagery, however. This is one of the major disappointments of the film-going year.
    • 53 Metascore
    • 50 Michael Phillips
    Nearly two hours long, 30 Days of Night makes you feel the cold (though it was shot in New Zealand) and feel the fangs, but it also makes you feel like 30 days is a pretty long time.
    • 55 Metascore
    • 50 Michael Phillips
    In Rendition Gyllenhaal is supposed to be the smartest one in the room, yet he’s essentially just a good-looking plodder. And despite its whirligig story machinations, so is Rendition.
    • 46 Metascore
    • 50 Michael Phillips
    The best efforts of the performers cannot authenticate a plot that no longer feels inevitable. It feels contrived. And the audience stays at a remove instead of entering someone else’s nightmare.
    • 44 Metascore
    • 50 Michael Phillips
    All the astute acting in the world can’t bring such a preposterous story into the station on time and intact.
    • 45 Metascore
    • 50 Michael Phillips
    It is a silly film about serious matters.
    • 59 Metascore
    • 50 Michael Phillips
    Gray’s writing lacks the punch and zing that might take your mind off such rickety plotting.
    • 47 Metascore
    • 50 Michael Phillips
    This is the sort of film where a character says “Here we are, having a high-minded debate ...” and you wonder if countless moviegoers will be rolling their eyes in unison.
    • 59 Metascore
    • 50 Michael Phillips
    Beowulf is all right as far as it goes, and it goes pretty far for a PG-13 rating: Dismemberment, “300”-style blood globules comin’ atcha, and a digitally futzed and, for all practical purposes, completely naked!!!
    • 32 Metascore
    • 50 Michael Phillips
    Strives to be nothing more than easygoing and heartwarming.
    • 39 Metascore
    • 50 Michael Phillips
    So it’s one of those Hip, Now updates, albeit with jokes riffing on pop-cult artifacts that are already Then. I mean: “Jerry Maguire”? Moratorium!
    • 61 Metascore
    • 50 Michael Phillips
    While not autobiographical, The Kite Runner feels authentic in its ethnic tensions, even when the narrative itself, with its handily reappearing and easily avenged villain, undermines that authenticity.
    • 69 Metascore
    • 50 Michael Phillips
    It is well made as far as it goes. I wish it went beyond its own carefully prescribed limits of the commercially acceptable.
    • 49 Metascore
    • 50 Michael Phillips
    Allen is obsessed with the notion of getting away with murder, mulling over which personalities can shoulder the psychological burden of killing without remorse, while others crumble under the pressure. The problem is, you don’t feel the human sweat and strain in Cassandra’s Dream, despite game work from Farrell and McGregor.
    • 47 Metascore
    • 50 Michael Phillips
    The eerily precise Heigl, who provided confident back-court support as the exile in Guyville also known as “Knocked Up,” has no trouble filling a leading lady’s shoes. She’s just snarky enough to be interesting, and she knows how to take a fall.
    • 36 Metascore
    • 50 Michael Phillips
    The most vivid aspect of The Eye is its poster image, that of a huge female eye with a human hand gripping the lower lid from the inside. The least vivid aspect is the way Jessica Alba delivers a simple line of expository dialogue.
    • 30 Metascore
    • 50 Michael Phillips
    The slapstick is crudely executed. And the movie never makes up its mind regarding how nasty the ghost of Kate is going to play her revenge tactics.
    • 40 Metascore
    • 50 Michael Phillips
    With a less pedigreed international cast the whole thing would be a disaster, as opposed to a chilly new kind of disaster film.
    • 39 Metascore
    • 50 Michael Phillips
    It’s a little “Karate Kid,” a smidge of “Fight Club” (with none of the ironic ambivalence toward violence that David Fincher brought to that story), a lot of “The O.C.” (evil boy Gigandet played an evil boy on that series), and presto: probable hit.
    • 41 Metascore
    • 50 Michael Phillips
    "Superbad” got a deserved R rating for its unmitigated and gleeful raunch. Drillbit Taylor is cleaner in mouth but far uglier in spirit. Wilson and Mann do what they can to tone it up, but their scenes belong to a different film, and a fresher one.
    • 48 Metascore
    • 50 Michael Phillips
    One of the problems with the new comedy Run, Fat Boy, Run is that it’s not English enough, even though its antagonist is a thoroughly detestable American go-getter.
    • 48 Metascore
    • 50 Michael Phillips
    21
    21 isn’t pretentious, exactly, but it’s damn close, and in trying to whip up a melodramatic morality tale the film becomes an increasingly flabby slog.
    • 56 Metascore
    • 50 Michael Phillips
    Sidelined by a script that plays like an imitation of another era’s artifacts. It’s an oxymoron: a mild screwball romance.
    • 52 Metascore
    • 50 Michael Phillips
    Isn’t eye candy; it’s a drool-worthy slice of eye pie.
    • 57 Metascore
    • 50 Michael Phillips
    Church is most at home in his character’s skin; aside from the game but strident Quaid, all the leading players are ideally cast. It’s the script that isn’t ideally cast.
    • 55 Metascore
    • 50 Michael Phillips
    I enjoyed parts of Street Kings but I didn’t believe one thing about it, and I couldn’t get past Reeves’ unsuitability to his role. He may someday play a cop on the edge convincingly, but the edge needs to be sharper than this.
    • 55 Metascore
    • 50 Michael Phillips
    Midway through I started wondering why I wasn't laughing more. "Baby Mama" was not written by Fey and/or Poehler, which may be the reason.
    • 31 Metascore
    • 50 Michael Phillips
    With her arresting, off-kilter look of bruised desire, Michelle Williams ends up being the most interesting aspect of this somber corn.
    • 57 Metascore
    • 50 Michael Phillips
    You find yourself smiling at some of the bits, wincing through many, many others, and ultimately wondering if the pacing would've improved had either H or K developed a terrible cocaine habit.
    • 64 Metascore
    • 50 Michael Phillips
    It has a rich premise and no lack of amazements. What it lacks in any sort of dramatic shape.
    • 62 Metascore
    • 50 Michael Phillips
    Roughly the same as the first in terms of quality and style. It delivers without much visual dynamism, and with a determined emphasis on combat. In the 1951 novel the climactic battle between the good Narnians and the bad Telmarines lasted a few pages. The film version of the same battle feels like "The Longest Day."
    • 65 Metascore
    • 50 Michael Phillips
    Does not know when to quit. Nor does it extract much fun from a cockamamie story provided by George Lucas.
    • 49 Metascore
    • 50 Michael Phillips
    Cinematographer Zhao Xiaoding manages some lovely images, and some of Spottiswoode’s compositions remind you he's capable of fine work. But Hogg never comes to life, on the page or on the screen.
    • 51 Metascore
    • 50 Michael Phillips
    Savage Grace comes up bland and seems to go nowhere in particular.
    • 54 Metascore
    • 50 Michael Phillips
    An Israeli-on-Arab version of "Shampoo," You Don’t Mess With the Zohan is terrible in many ways, and shoddy in every way that has to do with filmmaking. But politically it's sort of interesting.
    • 54 Metascore
    • 50 Michael Phillips
    Missed it by that much. Actually, the new version of Get Smart misses by a fair-size margin.
    • 64 Metascore
    • 50 Michael Phillips
    What are Jolie and Freeman and McAvoy doing here, besides acting cooler than Clive Owen in "Shoot ’Em Up"? Cashing a check, that's what. Bekmametov may have talent, but the arrested-adolescent "escapism" of this picture emits a pretty bad odor.
    • 43 Metascore
    • 50 Michael Phillips
    The heartbreaking thing about Meet Dave...is its occasional funniness amid a sea of pablum. If it were completely rank, it'd be less frustrating.
    • 51 Metascore
    • 50 Michael Phillips
    It's funny what you buy completely onstage and resist completely, or nearly, on-screen. Case in point: Mamma Mia!
    • 51 Metascore
    • 50 Michael Phillips
    This debut picture never makes up its mind about what sort of comedy it wants to be. But at least it has one--a mind, that is.
    • 47 Metascore
    • 50 Michael Phillips
    The story is both a muddle and a drag.
    • 53 Metascore
    • 50 Michael Phillips
    At times the film appears on the verge of morphing into a singing-cowboy musical.
    • 54 Metascore
    • 50 Michael Phillips
    Striving for low-key character comedy, Diminished Capacity ends up diminishing its returns.
    • 32 Metascore
    • 50 Michael Phillips
    The film's tone is utterly indistinct, beyond fatuous adoration of its subject.
    • 56 Metascore
    • 50 Michael Phillips
    Wine may be sunlight held together by water, as Galileo said, but Bottle Shock is held together only by Alan Rickman.
    • 44 Metascore
    • 50 Michael Phillips
    Unfortunately it’s all a bit dull.
    • 63 Metascore
    • 50 Michael Phillips
    Clooney remains as game as ever, but the way he and McDormand push the energy here, you feel the strain. Pitt, just floating through, comes off best. He doesn't judge the moron he's playing; he just is.
    • 39 Metascore
    • 50 Michael Phillips
    As skillful and charismatic as Gere is, I never get the sense he's really in there, conversing with his fellow actor.
    • 37 Metascore
    • 50 Michael Phillips
    Half the time I wasn't sure what Lee was going for in terms of tone, or style, or focus. It was a tricky assignment to begin with, because McBride's novel, and his screenplay, is part socio-historical corrective, part magical-realist folklore, part wartime procedural.
    • 47 Metascore
    • 50 Michael Phillips
    One wishes LaBute, a bleak satirist and, at his best, a crudely compelling dramatist, had taken the script and made it his own sort of twisted comedy instead of a routine thriller
    • 45 Metascore
    • 50 Michael Phillips
    Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.
    • 58 Metascore
    • 50 Michael Phillips
    Too often The Express sidelines its own main character in favor of the lemon-sucking, jaw-jutting glower patented by Quaid.
    • 62 Metascore
    • 50 Michael Phillips
    The film disappoints particularly in relation to "Young Adam," an earlier picture about sexual obsession from writer-director David Mackenzie; this one's more in line with the creamy tones and surface readings of "Asylum."
    • 31 Metascore
    • 50 Michael Phillips
    The film is responsible, earnest, well-intentioned and, as it was in Sundance, maddeningly inconsistent.
    • 53 Metascore
    • 50 Michael Phillips
    The film itself, which has everything from erection jokes to a computer-generated tornado, comes down to a battle between the interpreters and a screenplay riddled with convenience, cliche and well-meaning contrivance.
    • 45 Metascore
    • 50 Michael Phillips
    This film is very different: chilly, methodical, a slave to 10-ton metaphor as opposed to metaphoric provocation.
    • 69 Metascore
    • 50 Michael Phillips
    Ashes of Time Redux remains a hermetic and rather frustrating work, dotted by lonely, windblown figures dwarfed by the sand dunes of western China.
    • 38 Metascore
    • 50 Michael Phillips
    The movie expresses honest concern for the plight of so many newcomers to America, legal or illegal. What it lacks is moment-to-moment credibility.
    • 30 Metascore
    • 50 Michael Phillips
    The film works a bit better than the 2004 "Punisher" installment, the one starring surly, dislikable Thomas Jane as Frank Castle.
    • 40 Metascore
    • 50 Michael Phillips
    Keanu Reeves plays Klaatu, confining his usual two-and-a-half-note vocal range to half that.
    • 58 Metascore
    • 50 Michael Phillips
    Can a formidable actress redeem a pile of solemn erotic kitsch? Kate Winslet answers that one as honestly as she can in the film version of Bernhard Schlink's 1995 novel "The Reader."
    • 72 Metascore
    • 50 Michael Phillips
    Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings.
    • 33 Metascore
    • 50 Michael Phillips
    Clean enough to fly the Walt Disney Pictures flag, yet it's full of bimbos and cleavage and shots of Adam Sandler getting kicked in the shins by a dwarf.
    • 44 Metascore
    • 50 Michael Phillips
    A massive and rather tiring showcase for Bollywood action hero Akshay Kumar.
    • 40 Metascore
    • 50 Michael Phillips
    The nuttiest hunk of junk in many months.
    • 29 Metascore
    • 50 Michael Phillips
    New in Town is "The Pajama Game" without the songs, the laughs or the bare-knuckled realism.
    • 36 Metascore
    • 50 Michael Phillips
    Nothing is harder and more elusive than successful slapstick onscreen. Nothing.
    • 45 Metascore
    • 50 Michael Phillips
    A genial, sloppy, minor affair, offering a smidgen of inside baseball, which includes a gag at the expense of the forgotten, late '80s Lucas-produced epic "Willow."
    • 31 Metascore
    • 50 Michael Phillips
    I didn't half-mind Fired Up, but half a mind is more than it deserves.
    • 53 Metascore
    • 50 Michael Phillips
    I wish the film version of Astro Boy provided a stronger antidote to mediocrity.
    • 33 Metascore
    • 50 Michael Phillips
    The movie bumps along from low-grade scare to scare, and it's not lousy, mainly because Virginia Madsen prevents it from being so.
    • 47 Metascore
    • 50 Michael Phillips
    I like the end-credits sequence best, which has nothing to do with hoary complications or the miseries of stardom or the magical spellbinding powers of a cheap wig.
    • 54 Metascore
    • 50 Michael Phillips
    There's about 10 good minutes out of 85.
    • 32 Metascore
    • 50 Michael Phillips
    G.I. Joe may not be beefier, but it’s cheesier and less aggravating than "Transformers: Revenge of the Fallen," the summer ’09 headbanger it most resembles.
    • 54 Metascore
    • 50 Michael Phillips
    All in all? A curious preachment yarn for peace, one which makes you wonder if the filmmakers couldn't wait to get to the climactic aerial dogfights.
    • 46 Metascore
    • 50 Michael Phillips
    Next Day Air is sort of bracing, though it isn't very good: Its total lack of dramatic and comic bearings, to say nothing of a point, keeps you wondering about the next fatality, in a half-interested way.
    • 50 Metascore
    • 50 Michael Phillips
    Padding disguised as a feature-length screenplay, adapted from Belber's one-act.
    • 50 Metascore
    • 50 Michael Phillips
    Not bad, not good, Ice Age 3 may be OK enough to do what it was engineered to do, i.e., baby-sit your kid for a while and rake in the dough.
    • 51 Metascore
    • 50 Michael Phillips
    The harder this assault weapon went at my tear ducts, the more duct tape I wrapped around them as a defensive measure.
    • 41 Metascore
    • 50 Michael Phillips
    Toward the end, G-Force starts making no sense at all, neither tonally or narratively. It may not matter to the target audience, though the look on my son's face when it was over was pure Buster Keaton. He says he liked it well enough. Me, a little less.
    • 34 Metascore
    • 50 Michael Phillips
    My Life in Ruins will neither ruin nor change nor significantly impact your life.
    • 42 Metascore
    • 50 Michael Phillips
    Assuming your psycho-pigtailed-killer memories extend back as far as "The Bad Seed," Maxwell Anderson's play filmed by director Mervyn LeRoy in 1956, Orphan may remind you of the icon made famous by Patty McCormack.
    • 68 Metascore
    • 50 Michael Phillips
    The acting is quite deft, if extremely broad, but screenwriter Kundo Koyama seesaws uncertainly between jokes and grief.
    • 48 Metascore
    • 50 Michael Phillips
    The Proposal reworks "Two Weeks Notice" with the genders switched.
    • 54 Metascore
    • 50 Michael Phillips
    Extraordinarily raunchy, occasionally funny.
    • 37 Metascore
    • 50 Michael Phillips
    Distressingly ordinary for such an extraordinary subject.
    • 23 Metascore
    • 50 Michael Phillips
    The results are boring boring.
    • 63 Metascore
    • 50 Michael Phillips
    It is less a film than a puny trampoline -- an occasion, though a grim one, for this most fervently movie-mad of American directors to show off his love for the various pulp genres mooshed together by the 2003 Dennis Lehane novel.
    • 47 Metascore
    • 50 Michael Phillips
    The emotions and crises feel pre-sanded, smooth to the point of blandness.
    • 70 Metascore
    • 50 Michael Phillips
    Why isn’t the film better? Guggenheim doesn’t seem to have prodded his subjects in any interesting directions.
    • 40 Metascore
    • 50 Michael Phillips
    The script of Shrink, written by Thomas Moffett, plays like "Crash" without the angst or the perpetual racial conflagrations.
    • 47 Metascore
    • 50 Michael Phillips
    The movie’s partially redeemed by Seyfried, who makes her character more than a repository for audience sympathy. (Her make-out scene with Fox is handled with more suspense and care than anything else in the movie.)
    • 53 Metascore
    • 50 Michael Phillips
    Veers perilously close to the concept of poverty tourism.
    • 42 Metascore
    • 50 Michael Phillips
    Jackson has not cast himself well, though. He has slathered the imagery in the wrong kind of wonderment and hyperbole, both on Earth and in heaven.
    • 65 Metascore
    • 50 Michael Phillips
    While White plays it supercool, Tommy Davidson and Arsenio Hall (as Cream Corn and Tasty Freeze, respectively) swing for the fences, without much in the way of a bat.
    • 58 Metascore
    • 50 Michael Phillips
    A surer hand behind the camera might’ve finessed the jokes more effectively, or established a consistent and satisfying tone.
    • 71 Metascore
    • 50 Michael Phillips
    What are they trying to accomplish and is this really the best way to accomplish it?
    • 45 Metascore
    • 50 Michael Phillips
    The results feel a little harried, as if the focus issues were never really solved.
    • 43 Metascore
    • 50 Michael Phillips
    I truly wish Dear John were a better, less shamelessly manipulative movie, but a couple of the actors got me through it alive. One is Amanda Seyfried.
    • 47 Metascore
    • 50 Michael Phillips
    Suggests that this could be the start of something adequate. Something big would've been nicer, though the movie's limitations are less a matter of scale than of imagination.
    • 34 Metascore
    • 50 Michael Phillips
    In sum it plays like 12 landlocked episodes of "The Love Boat" rammed together, though without the same rate of intercourse.
    • 47 Metascore
    • 50 Michael Phillips
    DePietro struggles to reconcile the perceived demands of the romantic comedy genre (though his film is more bittersweet than most) and the tang and hustle and detail of real life.
    • 43 Metascore
    • 50 Michael Phillips
    Good actors and a talented director doing what they can to bring the truth to a script that's mostly bogus.
    • 46 Metascore
    • 50 Michael Phillips
    I laughed here and there at She's Out of My League, but I sort of hated everything it had to say about nerds and babes and the sliding scale of self-image.
    • 40 Metascore
    • 50 Michael Phillips
    The dialogue can drive you crazy with its self-consciousness.
    • 56 Metascore
    • 50 Michael Phillips
    Kids may love the movie, and even kids who love the books may like it. For me, though, an astonishing percentage of the books' appeal has vanished.
    • 33 Metascore
    • 50 Michael Phillips
    The Last Song is primarily for teenagers looking for something disposable to cry about for a couple of hours, though I did find it a tad easier to take than "Dear John."
    • 36 Metascore
    • 50 Michael Phillips
    Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.
    • 55 Metascore
    • 50 Michael Phillips
    Duchovny and Moore have their moments; they're like two preening sharks working on commission.
    • 35 Metascore
    • 50 Michael Phillips
    By today's standards, it is only medium-bloody, though it's more than usually grim, its young protagonists sullen enough to qualify for the "Twilight" movies. Yet it affords precious little sadistic pleasure, partly because it "dares" to lay out more directly the pedophiliac demons plaguing Freddy the serial killer.
    • 27 Metascore
    • 50 Michael Phillips
    I enjoyed these characters more when they were rich, rather than obscenely rich, when their self-involvement and life crises had one foot on planet Earth -- and when they weren't all gussied up like Mae West in "Sextette."
    • 33 Metascore
    • 50 Michael Phillips
    Here's how you know Josh Brolin has become a movie star: Jonah Hex may not be much with him, but without him? Perish the thought. Perish it, throw an ax in its heart, then burn it to a crisp.
    • 30 Metascore
    • 50 Michael Phillips
    The only people humiliated, really, are older people and heavy people and nerds and vegans and black people and mothers who breast-feed their 4-year-olds. Everybody else gets a pass.
    • 55 Metascore
    • 50 Michael Phillips
    Agora has everything except real drama.
    • 43 Metascore
    • 50 Michael Phillips
    Newell has done some fine work in all sorts of genres, from “Four Weddings and a Funeral” to “Harry Potter and the Goblet of Fire,” but in “Cholera” he seems to be chronicling a half-century of events, passions and desires as a tourist, not a native.
    • 58 Metascore
    • 50 Michael Phillips
    More happens in Eclipse than in the previous "Twilight" zone, "New Moon," and yet it's duller
    • 51 Metascore
    • 50 Michael Phillips
    Predators, plural, starts well and ends poorly, and in the middle it's in the middle.
    • 60 Metascore
    • 50 Michael Phillips
    Who would have believed a film with this much skin and reckless, life-threatening excess could end up a rather dull muddle?
    • 50 Metascore
    • 50 Michael Phillips
    The very elements of Eat Pray Love that helped make it a success in 40 languages -- the breezy prose, the relentless sorting-through of dissatisfactions, a steady stream of intriguing sights -- turn the film into a travelogue with a little spiritual questing on the side.
    • 45 Metascore
    • 50 Michael Phillips
    At one point Rourke delivers a monologue about his time in Bosnia, and the conviction the actor brings to the occasion throws the movie completely out of whack. What's actual acting doing in a movie like this?
    • 52 Metascore
    • 50 Michael Phillips
    Too much of the contrasting comedy in Nanny McPhee Returns is shrill, laden with routine computer-generated effects and pounded into dust by James Newton Howard's shut-up-already musical score.
    • 55 Metascore
    • 50 Michael Phillips
    A dramatic true story has been made into a diffident biopic.
    • 45 Metascore
    • 50 Michael Phillips
    The story should have made for charming results on screen. Instead - and I truly don't enjoy saying so - co-adapter and director Rob Reiner's picture lands somewhere between synthetic nostalgia and the texture of real life.
    • 60 Metascore
    • 50 Michael Phillips
    It's outlandishly gory and bluntly political, the latter being more interesting than the former. It wears out its welcome, though, long before la revolucion and sequels are promised.
    • 39 Metascore
    • 50 Michael Phillips
    Legendary is so intent on paying heartfelt tribute to dogged young athletes that it neglects basic story needs.
    • 61 Metascore
    • 50 Michael Phillips
    Secretariat isn't bad but it's precisely what you'd expect.
    • 56 Metascore
    • 50 Michael Phillips
    Morgan and Eastwood are scrupulous in keeping their notions of the afterlife as general and inoffensive as possible. They have no religious or spiritual worldview to sell. As I say: Many admire this film to no end. I found its use of recent tragic events, including the London underground bombing, to be more than a little cheap.
    • 37 Metascore
    • 50 Michael Phillips
    A facsimile of a masquerade of a gloss on "Charade," and on all the lesser cinematic charades that followed in the wake of director Stanley Donen's 1963 picture.
    • 44 Metascore
    • 50 Michael Phillips
    Dwayne Johnson leaves his lovable self behind in the violent but bland Faster.
    • 55 Metascore
    • 50 Michael Phillips
    They put the "obvious" in "obvious."
    • 49 Metascore
    • 50 Michael Phillips
    The results impart that "trapped" feeling all too well. It's a sullen affair, dominated by a grim visual palette that intrigues for about 30 minutes.
    • 43 Metascore
    • 50 Michael Phillips
    She tackled "The Tempest" on stage, years ago. On screen I wish she'd (Taymor) adapted it with a freer hand, and then directed it with a more considered one.
    • 45 Metascore
    • 50 Michael Phillips
    My God is this script predictable. Each relapse and betrayal shows up announced, and then announced again, a little louder, by the dialogue equivalent of an aggravating doorman.
    • 46 Metascore
    • 50 Michael Phillips
    Unexpectedly sour, The Dilemma barely qualifies as a comedy.
    • 39 Metascore
    • 50 Michael Phillips
    Too much. Too numbing. Too coy. And ultimately too violent.
    • 50 Metascore
    • 50 Michael Phillips
    You've seen worse. The film industry is capable of better.
    • 58 Metascore
    • 50 Michael Phillips
    For many, this central performance will be more than enough. For others, the film will simply be too much.
    • 42 Metascore
    • 50 Michael Phillips
    Here and there an image of spectral beauty, assisted by the 3-D technology, floats into view and captures our imagination. But the script, which really should've been called "Sanctimonium," has a serious case of the bends.
    • 36 Metascore
    • 50 Michael Phillips
    I found the mythology of I Am Number Four vague and sloppy.
    • 45 Metascore
    • 50 Michael Phillips
    It's secondhand, vaguely resigned material. And while Sudeikis has some talent, he's not yet ready to co-anchor a feature comedy. He's no Ed Helms, in other words.
    • 29 Metascore
    • 50 Michael Phillips
    Seyfried's a good actress, but all the art direction in the world can't make this version of events the stuff either of dreams or of nightmares.
    • 45 Metascore
    • 50 Michael Phillips
    The cast is not the limitation here. The limitation, and I found it to be a drag on this aggressively audience-pleasing indie, relates directly to its premise.
    • 57 Metascore
    • 50 Michael Phillips
    The script avoids going full-bore as satire. Where it goes instead lacks a purpose, a reason for being, beyond the usual name-checking of "The X-Files" and the like.
    • 51 Metascore
    • 50 Michael Phillips
    I didn't laugh much, nor did my 10-year-old companions, but nobody had their soul crushed by the experience. This is the film industry's Hippocratic oath: First, crush no souls.
    • 63 Metascore
    • 50 Michael Phillips
    Rio
    The movie isn't dull, exactly; the problem lies in the other, antsy direction.
    • 55 Metascore
    • 50 Michael Phillips
    Heartbreakingly average, director Robert Redford's The Conspirator errs in the way so many films do, especially films about unsung pieces of American history. It focuses on the wrong character.
    • 48 Metascore
    • 50 Michael Phillips
    Writer-director Silver, who trained in documentaries, appears flummoxed by the challenges of getting the audience inside the heads of these young men.
    • 36 Metascore
    • 50 Michael Phillips
    The glibness of Wiesen's freshman effort wouldn't be a problem if the wit was there.
    • 39 Metascore
    • 50 Michael Phillips
    Green just isn't the superhero color this year.
    • 57 Metascore
    • 50 Michael Phillips
    Lasseter's sequel smooshes the vehicular ensemble of the first "Cars" into a nefarious James Bond universe, heavy on the missiles and ray guns and Gatling guns and electrocutions. Sound peculiar? It is peculiar.
    • 42 Metascore
    • 50 Michael Phillips
    The gentle erotic undertow in the friendship of Snow Flower and Lily has been toned down, and replaced by … niceness.
    • 68 Metascore
    • 50 Michael Phillips
    This is the "Babel" or "Crash" of ensemble romantic comedies, with screenwriter Dan Fogelman mapping out several narrative surprises that throw you for little loops as they're delivered.
    • 39 Metascore
    • 50 Michael Phillips
    Some comedies have the knack for affrontery and shock value; The Change-Up, written by the "Hangover" team of Jon Lucas and Scott Moore, merely has the will to offend.
    • 50 Metascore
    • 50 Michael Phillips
    If more of the picture had the inventively grotesque payoff of the scene set at the gymnastics tryout, capped by a female character's inarguably poor dismount, we might have something to puke home about.
    • 48 Metascore
    • 50 Michael Phillips
    What proved tasty in book form comes across a little more like work in the movie.
    • 36 Metascore
    • 50 Michael Phillips
    It's mostly noise and splurch and, as I mentioned, aaaaarrrrggggghhhhh!
    • 56 Metascore
    • 50 Michael Phillips
    To my taste there's too much of everything. The soundtrack never shuts up with the wind, the murmurings, the shudderings. And while director Nixey has talent, his indiscriminately roving camera tends to diffuse the tension, not heighten it.
    • 57 Metascore
    • 50 Michael Phillips
    Although Joffe appears to be making a Brighton version of the seductively natty evil we find stateside in "Boardwalk Empire," this Brighton Rock remains muffled, half-formed pulp fiction.
    • 65 Metascore
    • 50 Michael Phillips
    Director Madden vacillates between treating the issues and historical context of The Debt seriously, and as the story demands, as pure, heavy-handed pulp. The cast does what it can in the service of this assignment. But some jobs simply resist satisfying completion.
    • 38 Metascore
    • 50 Michael Phillips
    Doesn't know how to do what I think it's trying to do.
    • 44 Metascore
    • 50 Michael Phillips
    The script is a mess. It's an object lesson in taking a nonfiction book ("The Feather Men," about a cadre of ex-British Special Air Service operatives) and making a hash of it.
    • 35 Metascore
    • 50 Michael Phillips
    Dumb film; smart comedienne.
    • 56 Metascore
    • 50 Michael Phillips
    I suspect a lot of what I found synthetic and sort of galling in Real Steel will work just fine with the target audience.
    • 64 Metascore
    • 50 Michael Phillips
    Here and there, the actor invests the kind of feeling that makes The Way come alive in human terms.
    • 53 Metascore
    • 50 Michael Phillips
    This is a gentle, diffident concoction. But it has barely enough pulse to power a hummingbird.
    • 58 Metascore
    • 50 Michael Phillips
    The result is a film that feels hidebound. And nobody ever called a dance-driven movie "hidebound."
    • 23 Metascore
    • 50 Michael Phillips
    It's not much to hijack. But playing a lovelorn version of himself, in love with Adam Sandler in a dress, a lisp and breasts, Al Pacino holds a gun to the head of the comedy Jack and Jill and says: I now pronounce you mine.
    • 50 Metascore
    • 50 Michael Phillips
    The sequel's themes of friendship and interdependency fail to generate much momentum.
    • 65 Metascore
    • 50 Michael Phillips
    The result is a picture that is baldly manipulative yet weirdly sentimental, and while Considine (a fine actor) can write, he is capable also of writing dialogue you've heard before.
    • 39 Metascore
    • 50 Michael Phillips
    I hope Green one day finds a way to bridge the style and rhythm of his early pictures (the ones that didn't make money) and the bumper-car approach of The Sitter.
    • 22 Metascore
    • 50 Michael Phillips
    I always enjoy Elizondo; he has a way of elevating some pretty lame banter, and thanks to New Year's Eve he has his way all over again.
    • 68 Metascore
    • 50 Michael Phillips
    I fear Spielberg and Jackson hitched their wagon to the wrong technological star here.
    • 44 Metascore
    • 50 Michael Phillips
    The movie's all right, if you can take its rampant artificiality - and I'm not even talking about Parton's face yet.
    • 46 Metascore
    • 50 Michael Phillips
    Red Tails squanders a great subject, reducing the real-life struggles and fierce heroics of the Tuskegee Airmen to rickety cliche.
    • 68 Metascore
    • 50 Michael Phillips
    All the movie has, really, is Tilda Swinton acting up a storm, which is more than enough for some. For me, given what's up with the rest of the picture, it's not quite.
    • 40 Metascore
    • 50 Michael Phillips
    The supporting players in Man on a Ledge bring more to the party than the leads, and my suspension of disbelief seems to have gotten hung up in traffic while attempting to cross the suspension-of-disbelief bridge from the Brooklyn side.
    • 40 Metascore
    • 50 Michael Phillips
    The action beats come straight out of the video game "Call of Duty." And when you have real SEALs placed in a picture that lives and dies on the same old first-person-shooter aesthetic, you have a film divided against itself.
    • 46 Metascore
    • 50 Michael Phillips
    You couldn't accuse the film of practicing what it preaches: careful stewardship of a precious resource.
    • 51 Metascore
    • 50 Michael Phillips
    John Carter isn't much - or rather, it's too much and not enough in weird, clumpy combinations - but it is a curious sort of blur.
    • 55 Metascore
    • 50 Michael Phillips
    A smooth but frustrating third feature with an extremely good ensemble cast.
    • 52 Metascore
    • 50 Michael Phillips
    More than anything Casa de mi Padre is an exercise - and to those who find it more clever than I do, a valid one - in tone-funny, as opposed to joke-funny.
    • 48 Metascore
    • 50 Michael Phillips
    This one's just OK, but at midnight, after who knows what, OK might be enough.
    • 46 Metascore
    • 50 Michael Phillips
    Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
    • 49 Metascore
    • 50 Michael Phillips
    Now and then the movie rouses itself to deliver. If you go to American Reunion - and many will, if they harbor fond memories of the first one, and if they can find a sitter - you should stay through the end credits.
    • 56 Metascore
    • 50 Michael Phillips
    Absurdly brutal slapstick is a tough thing to sustain across a feature. I spent a lot of The Three Stooges staring, not laughing. For me this was a stare-out-loud affair.
    • 39 Metascore
    • 50 Michael Phillips
    The leads' chemistry in The Lucky One is more theoretical than actual. Still, the sunsets and sunrises and sunbeams through the windowpanes fall easily on the eyes.
    • 44 Metascore
    • 50 Michael Phillips
    The Raven squanders a promising scenario while half-burying Cusack's mercurial skills as a leading man with the wiles of a character actor.
    • 55 Metascore
    • 50 Michael Phillips
    Dark Shadows illustrates the fine line in a pop reboot between "relaxed" and "lazy."
    • 53 Metascore
    • 50 Michael Phillips
    The movie lacks wit.
    • 45 Metascore
    • 50 Michael Phillips
    Keener alone finds the truth between the lines of this routine affair. She can't do much about the lines she has to say out loud, but as all first-rate screen performers realize, words are only part of the story.
    • 47 Metascore
    • 50 Michael Phillips
    The movie, full of talented performers in search of a more propulsive vehicle, settles for workmanlike cover-band status, which makes this a cover-band tribute to a jukebox musical - a long way from true, trashy exhilaration.
    • 42 Metascore
    • 50 Michael Phillips
    It sounds fun. It's a little fun. For a while. But Bekmanbetov shoots every killing spree like an addled gamer, working that slow-down-speed-up kill-shot cliche like a maniac.
    • 59 Metascore
    • 50 Michael Phillips
    What it doesn't have is a way of making sense of its comic and dramatic strains, together, in the same movie.
    • 49 Metascore
    • 50 Michael Phillips
    A fine and moving film could be made from this story, which was inspired, loosely, by events and situations in the lives of Kurtzman and Orci. But the script sets an awfully low bar for Sam's redemption.
    • 54 Metascore
    • 50 Michael Phillips
    The movie strolls through its paces, sometimes amusingly, though by the end you've heard "Volare" and "Arrivederci Roma" reprised often enough to make you wish "Volare" and "Arrivederci Roma" had never been written.
    • 62 Metascore
    • 50 Michael Phillips
    Ted
    You can find this clever, or you can find it lazy, and this is why MacFarlane is the biggest mixed blessing in contemporary TV comedy: He is both.
    • 59 Metascore
    • 50 Michael Phillips
    It's not as if Stone is above this sort of pulp. But as rejiggered for the movies, Savages has trouble making us care what happens to the beautiful people - the untouchables - at the center of the sun-baked fairy tale.
    • 86 Metascore
    • 50 Michael Phillips
    But even with the great good efforts of Wallis, the results, to some of us, betray a distrustworthy slickness reminiscent of a British Petroleum oil spill clean-up commercial.
    • 49 Metascore
    • 50 Michael Phillips
    It's not very funny, but your kids might like it.
    • 36 Metascore
    • 50 Michael Phillips
    It sticks in the craw. The whole movie does.
    • 61 Metascore
    • 50 Michael Phillips
    "The Bourne Identity." "The Bourne Supremacy." "The Bourne Ultimatum." And now, "The Pointless, Confused and Then, For the Last Half-Hour, Exciting Bourne Sequel, After a Fashion," more commonly known as The Bourne Legacy.
    • 45 Metascore
    • 50 Michael Phillips
    To say The Paperboy doesn't work is one thing; to say it's dull is a lie. This movie is berserk, which is more interesting than "eh."
    • 46 Metascore
    • 50 Michael Phillips
    The result is a placid tale of impulses running wild. Farino is a smooth operator, but he puts little on screen that feels like life, as opposed to a middle-of-the-road indie.
    • 30 Metascore
    • 50 Michael Phillips
    The sharpest five minutes in Alex Cross, by a considerable margin, belong to Giancarlo Esposito.
    • 31 Metascore
    • 50 Michael Phillips
    Many of the original film's booby-trap scenarios are repeated here, but without Milius' grandiosity and nihilism. There's less of both in the new Red Dawn. It's not a disaster. It's just drab.
    • 81 Metascore
    • 50 Michael Phillips
    By the two-hour mark the fun had oozed out of the movie for me. It's long. Or feels it.
    • 55 Metascore
    • 50 Michael Phillips
    More an argument than a fully fleshed-out drama ... The script is unconvincing; two key narrative twists, one related to the other, are deeply hokey.
    • 36 Metascore
    • 50 Michael Phillips
    The pathos: considerable. The sight gags, involving Crystal puking chili dog on a kid's face, or the grandson with an imaginary friend peeing and causing an X Games skateboarder to wipe out: artless. The results: tolerably amusing.
    • 40 Metascore
    • 50 Michael Phillips
    A triumph of production design but a pretty dull kill-'em-up otherwise.
    • 34 Metascore
    • 50 Michael Phillips
    I like Duhamel, and in her first straight-up dramatic role Hough does well enough, though her singing and/dancing career thus far has trained her to oversell, as opposed to sell, as opposed to act naturally.
    • 52 Metascore
    • 50 Michael Phillips
    When classy, pedigreed British actors go hog-wild under the flowering dogwood trees of a Southern Gothic setting, often the results are good. Just as often they're so bad they're good. And sometimes, as is the case with Jeremy Irons and Emma Thompson in Beautiful Creatures, they're simply doing the best they can under the circumstances.
    • 51 Metascore
    • 50 Michael Phillips
    The film is ruled by sound and fury signifying an attempt to launch a new franchise.
    • 40 Metascore
    • 50 Michael Phillips
    Robinson is undone partly by his own workmanlike touch as a writer, and partly by matters of casting. I like Harris, and he's quite moving here, but every time Duchovny reappears the overall energy level sinks to crush depth.
    • 48 Metascore
    • 50 Michael Phillips
    This one's likely to vex both history buffs and those who require some drama with their drama.
    • 43 Metascore
    • 50 Michael Phillips
    Without a strong narrative engine, Upside Down ends up exactly where it shouldn't go: sideways.
    • 44 Metascore
    • 50 Michael Phillips
    Funny Games is fundamentally a bourgeois exercise in authorial sadism. As the methodical games grind on, the suffocatingly beige and white surroundings start to look like a mausoleum.
    • 41 Metascore
    • 50 Michael Phillips
    The directive behind this sequel, clearly, was non-stop action. Let's think about that phrase a second. Do we really want our action movies to deliver action that does not stop? Ever? I get a little tired of action sequences that won't stop.
    • 57 Metascore
    • 50 Michael Phillips
    Evil Dead offers the core audience for modern horror plenty of reasons to jump, and then settle back, tensely, while awaiting the next idiotic trip down to the cellar beneath the demon-infested cabin in the woods.
    • 54 Metascore
    • 50 Michael Phillips
    Oblivion is odder and less conventional than your average forgettable star vehicle; at times it feels like a five-character play taking place in a digital-effects lab. But there's not much energy to it.
    • 28 Metascore
    • 50 Michael Phillips
    The movie's own brand of charm has its subset of smarm.
    • 42 Metascore
    • 50 Michael Phillips
    Much as I enjoy the actors I didn't buy a word or frame of Arthur Newman.
    • 40 Metascore
    • 50 Michael Phillips
    A chaotic headbanger, X-Men Origins: Wolverine is saved from pure flat-footed blockbuster franchise adequacy by six things, three of them on Hugh Jackman's left hand, three on his right.
    • 55 Metascore
    • 50 Michael Phillips
    Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann's mate and partner, Catherine Martin, this frenzied adaptation of The Great Gatsby is all look and no feel.
    • 52 Metascore
    • 50 Michael Phillips
    The animated result isn't bad. It's an adequate baby sitter. But where's the allure in telling the truth? Twentieth Century Fox and Blue Sky Studios present "Adequate"?
    • 42 Metascore
    • 50 Michael Phillips
    Levy surely knew that the script at hand didn't warrant a full two-hour running time; even if you enjoy The Internship, as my son did, it feels 20 minutes over-full at least. Cut out half of the "Flashdance" and "X-Men" references, and you're halfway there.
    • 65 Metascore
    • 50 Michael Phillips
    No better or worse than the average (and I mean average) time-filling sequel cranked out by other animation houses.
    • 47 Metascore
    • 50 Michael Phillips
    My favorite thing in the movie is the way co-star and Korean action icon Byung Hun Lee uses his feet of fury to hoist a paint can and send it flying.
    • 37 Metascore
    • 50 Michael Phillips
    Girl Most Likely goes a little bit wrong in nearly every scene, its stridently quirky characters never quite making sense together in the same universe, let alone the same movie.
    • 39 Metascore
    • 50 Michael Phillips
    Planes has practically no visual distinction, it's a complete knockoff, but I think it'll get by with the kids.
    • 44 Metascore
    • 50 Michael Phillips
    The dialogue comes straight out of "The Benny Goodman Story." That look, someone says to a staring, pausing Kutcher, "tells me you're on to something big." Nobody talks in this movie; everyone speechifies or take turns sloganing one another to death.
    • 33 Metascore
    • 50 Michael Phillips
    There's nothing wrong with Paranoia that a stronger director, livelier leading actors and several hundred fewer narrative conveniences wouldn't cure.
    • 36 Metascore
    • 50 Michael Phillips
    The Canyons may not work, and the sex (as well as the synthesized glop on the soundtrack) may be tragically unhip, but it was made by a director who still cares.
    • 71 Metascore
    • 50 Michael Phillips
    The skillful quartet at the center of Drinking Buddies reveals the weaknesses in the material.
    • 51 Metascore
    • 50 Michael Phillips
    Those looking for some human interest in their human interest may be equally frustrated.
    • 49 Metascore
    • 50 Michael Phillips
    We're snowed by a great deal of intersecting and crisscrossing information in The Fifth Estate, and Singer's script lacks organizational skills. I can relate. But that doesn't make parsing this busy film, or — crucially — its true, contradictory feelings about Assange any easier.
    • 48 Metascore
    • 50 Michael Phillips
    All that — and yet, dull. Why?
    • 57 Metascore
    • 50 Michael Phillips
    Imagine a Judy Blume rewrite of Cormac McCarthy's "The Road," and you'll end up somewhere in the ashen yet uplifting vicinity of How I Live Now.
    • 53 Metascore
    • 50 Michael Phillips
    It relays an uplifting story that, ill-advisedly, is not so much Holocaust-era as Holocaust-adjacent, determined to steer clear of too much discomfort.
    • 44 Metascore
    • 50 Michael Phillips
    The film isn't terrible; Vaughn, Pratt and, as David's frustrated girlfriend, Cobie Smulders know what they're doing in terms of finessing the material for laughs as well as the h-word. But it's all sort of unseemly.
    • 54 Metascore
    • 50 Michael Phillips
    The film has a persistent and careful sheen. It looks good. It is, in fact, preoccupied with looking good. If this sounds like faint praise, I'm afraid it is.
    • 75 Metascore
    • 50 Michael Phillips
    The movie's benumbed by its own parade of bad behavior. Like some of Scorsese's other second-tier works — "Casino," "Bringing Out the Dead" — the gulf between virtuoso technical facility and impoverished material cannot be bridged. It's diverting, sort of, to see DiCaprio doing lines off a stripper's posterior, but after the 90th time it's like, enough already with heinous capitalistic extremes.
    • 58 Metascore
    • 50 Michael Phillips
    See the play sometime. It cooks; the movie's more of a microwave reheat.
    • 57 Metascore
    • 50 Michael Phillips
    An average franchise re-launch.
    • 36 Metascore
    • 50 Michael Phillips
    It's nice to see a movie in love with New York City, but That Awkward Moment sets such a low bar for Jason's redemption it becomes a drag.
    • 52 Metascore
    • 50 Michael Phillips
    Kate Winslet has such sound and reliable dramatic instincts (That Face doesn't hurt, either) she very nearly makes something of Adele.
    • 52 Metascore
    • 50 Michael Phillips
    Clooney's attempt to honor unsung real-life heroes while recapturing the ensemble pleasures of some well-remembered Hollywood war pictures, notably "The Great Escape" and "The Guns of Navarone," comes off as a modestly accomplished forgery at best.
    • 31 Metascore
    • 50 Michael Phillips
    Despite the actors, who at least get some swell clothes to wear, Winter's Tale is a bit of a soul-crusher itself.
    • 60 Metascore
    • 50 Michael Phillips
    More than anything Minkoff's project feels like a protracted episode of "Jimmy Neutron," a show with characters for whom I don't have the same affection.
    • 61 Metascore
    • 50 Michael Phillips
    Most of the clues in Veronica Mars pertain either to Internet sex tapes or the various surveillance uses of the latest tablets. Anybody who works in tech support will probably enjoy the film a tad more than I did.
    • 48 Metascore
    • 50 Michael Phillips
    The generic bulk of Divergent hits its marks and moves on.
    • 61 Metascore
    • 50 Michael Phillips
    Part of the problem here is one of proportion: The movie throws a misjudged majority of the material to the villains and lets the unfashionably sincere and sweet-natured Muppets fend for themselves.
    • 41 Metascore
    • 50 Michael Phillips
    The movie wants it both ways: bloodthirsty revenge and some finger-wagging about the tactics.
    • 49 Metascore
    • 50 Michael Phillips
    Rio 2 offers roughly the same approach to story and to story clutter as did the first movie.
    • 43 Metascore
    • 50 Michael Phillips
    After an intriguing start, Transcendence — aka "The Computer Wore Johnny Depp's Tennis Shoes" — offers roughly the same level of excitement as listening to hold music during a call to tech support.
    • 49 Metascore
    • 38 Michael Phillips
    Doesn't provoke bittersweet inquiries regarding one poor actress' grisly fate. Nor does it stir up much provocation on the matter of why, as a popular audience, we're still taken with this lurid symbol of sex and dread and desire. Rather, the movie raises a much simpler question: Huh?
    • 37 Metascore
    • 38 Michael Phillips
    The film is a fancy-pants muddle in terms of technique. And if Bloom doesn't do something about his smirky tendency to troll for audience approval, his career may be severely limited.
    • 53 Metascore
    • 38 Michael Phillips
    Only the architecturally refined bone structure of Kristin Scott Thomas' face rescues Keeping Mum from full-on tedium.
    • 39 Metascore
    • 38 Michael Phillips
    Levinson has written and directed in many genres. But rarely has he made a film as indecisive and diffident as Man of the Year.
    • 35 Metascore
    • 38 Michael Phillips
    Despite valiant efforts from Czerny and from the fine stage actress Vilma Silva, who plays one of Walsch's many saviors, the result would qualify as a blandly inspirational amateur hour if the running time weren't closer to two.
    • 48 Metascore
    • 38 Michael Phillips
    Writer-director Thom Fitzgerald's ambitious but hopelessly inchoate AIDS drama is actually three separate, sequentially-told stories.
    • 36 Metascore
    • 38 Michael Phillips
    The stalwart American hero of Turistas comes off as a dislikable blank in the hands of Josh Duhamel, of the TV series "Las Vegas." More relaxed is Melissa George, who co-stars as the Aussie.
    • 49 Metascore
    • 38 Michael Phillips
    The Good German is just stiff. When Soderbergh tries one of those patented swoop-in-on-the-diagonal moves at a key dramatic moment, the effect is comic. And at that precise moment, the story starts dying a slow, oxygen-deprived death.
    • 43 Metascore
    • 38 Michael Phillips
    If the writers had the guts (and the jokes) to fashion a bittersweet comedy with a fully earned happy ending, Unaccompanied Minors probably wouldn't have been made. As is, it's a prefab slapstick-'n'-pathos stew that doesn't taste like anything.
    • 48 Metascore
    • 38 Michael Phillips
    Stranded in this charmless fantasy, Stiller is reduced to his old halting, squirming tricks.
    • 43 Metascore
    • 38 Michael Phillips
    A mild and static attempt at sincere camp.
    • 26 Metascore
    • 38 Michael Phillips
    Formulaic romantic junk.
    • 52 Metascore
    • 38 Michael Phillips
    Black Snake Moan strikes me as hogwash. It fundamentally does not work; its consciously far-fetched, out-there notions of the things damaged people do in the name of love are reductive and go only so far. It's as if the premise were tethered to a radiator or something.
    • 36 Metascore
    • 38 Michael Phillips
    Calling a sequel Are We Done Yet? is like calling it "Enough Already."
    • 36 Metascore
    • 38 Michael Phillips
    Ludicrous and overstuffed, it plows through the Big 10 of Biblical plagues.
    • 48 Metascore
    • 38 Michael Phillips
    A clammy little number that might've been funded by the Department of Homeland Security.
    • 39 Metascore
    • 38 Michael Phillips
    Most of the ingredients for a strong, tough film are there, and they have been sadly botched by a few key collaborators.
    • 62 Metascore
    • 38 Michael Phillips
    The line between cool and cold is a thin one, however. Cool isn't the word for "Thirteen"; it's just smug.
    • 37 Metascore
    • 38 Michael Phillips
    Carell's pal and "Daily Show" colleague Jon Stewart has a cameo as himself, one of a chorus of godless media star non-believers who do not see God's larger plan for Evan. Yes, well. At least "The Daily Show" is funny.
    • 25 Metascore
    • 38 Michael Phillips
    Williams' grimace is starting to look desperate. Then again, no one comes off well in director Ken Kwapis' handling of this greasy screenplay.
    • 16 Metascore
    • 38 Michael Phillips
    The film suggests Lohan probably (allegedly) should've gone after her agent the other night, not the mother of an ex-personal assistant.
    • 51 Metascore
    • 38 Michael Phillips
    It's all very "Scarface"--the De Palma remake of "Scarface," not the Hawks original. In other words, it doesn't feel modern at all. It feels about a generation late and 400 years short.
    • 41 Metascore
    • 38 Michael Phillips
    Freshman Orientation is not incompetently made. Nor is it badly acted. But there’s not a fresh idea in it, and everyone on screen seems to be in a different comedy.