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 The Prisoner or: How I Planned to Kill Tony Blair
Lowest review score: 0 Only God Forgives
Score distribution:
1,366 movie reviews
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 38 Michael Phillips
    I find Lars and the Real Girl adorable in the worst way, bailed out only by most every member of its excellent cast.
    • 48 Metascore
    • 38 Michael Phillips
    All you want from a movie like this, really, is a little brainless fun, and it keeps holding out on you. Everyone looks fatigued. Even Cage’s toupee seems ambivalent about having signed on for a sequel.
    • 41 Metascore
    • 38 Michael Phillips
    Diane Keaton--now there’s a trouper for you. She will not be caught giving less than 110 percent, even in a drab little heist comedy.
    • 32 Metascore
    • 38 Michael Phillips
    The latest, Untraceable, owes everything to “Lambs,” and to “Se7en,” and to all the “Lambs” and “Se7en” knockoffs made by directors less talented than Jonathan Demme and David Fincher. In addition to being dull, the Portland, Ore. -set Untraceable is a monster hypocrite, wagging its finger at the mass audience’s appetite for strictly regimented, “creative” torture scenarios.
    • 35 Metascore
    • 38 Michael Phillips
    Jumper, the film, goes everywhere and nowhere.
    • 47 Metascore
    • 38 Michael Phillips
    The court scenes are rarely funny, either in the trash talk or the slapstick.
    • 36 Metascore
    • 38 Michael Phillips
    As generic as its title, College Road Trip feels like a first draft, the one the studio brings to the rewrite team that, in this case, never got hired.
    • 40 Metascore
    • 38 Michael Phillips
    Despite honorable work from Theron, Robb and Stahl, Sleepwalking makes good on its title in a not-so-good way.
    • 37 Metascore
    • 38 Michael Phillips
    Dempsey's pleasant enough, but he hasn't yet learned how to play against a mediocre script's obviousness. Monaghan has, which is gratifying.
    • 36 Metascore
    • 38 Michael Phillips
    The screenplay by Dana Fox (she was one of the rewriters of "27 Dresses") devolves into a series of humiliating pranks that always give the upper narrative hand to the male lead. Talk about depressing. I mean, that's what male screenwriters are for--to unfairly stack the deck against the female leads.
    • 63 Metascore
    • 38 Michael Phillips
    Staggers and wanders and feels far longer than its 85 minutes, and it's best considered a calling card for better things to come.
    • 34 Metascore
    • 38 Michael Phillips
    After the insufferably dense mermaid mythology of "Lady in the Water," Shyamalan clearly wanted to keep things simple. He whizzed straight past "simple" to simplistic.
    • 24 Metascore
    • 38 Michael Phillips
    The Love Guru”does not bring out Myer's best, and aside from a deft early Bollywood parody, there’s nothing visually to help the fun along.
    • 49 Metascore
    • 38 Michael Phillips
    Not even Smith's charisma can mitigate the chaos that is Hancock.
    • 31 Metascore
    • 38 Michael Phillips
    The film has one objective: to smack its audience in the face with fleeting, competing wows, over and over.
    • 43 Metascore
    • 38 Michael Phillips
    The movie itself is hyperactive and a jumble.
    • 26 Metascore
    • 38 Michael Phillips
    It's rather sweet to think of Filth and Wisdom as Madonna's reconnection to her own boho Manhattan striver self a generation ago, and I did enjoy the last five minutes or so, when the movie essentially stopped and Hutz's band, Gogol Bordello, took over.
    • 53 Metascore
    • 38 Michael Phillips
    Ritchie, who shoots and cuts everything in RocknRolla like an ad for a particularly greasy brand of fragrance for men, delivers the beatings and killings in his trademark atmosphere of morally weightless flash.
    • 28 Metascore
    • 38 Michael Phillips
    I enjoyed Eliza Dushku's mad poetess, probably for the wrong reasons, but with a project this meager, you take your artful sneers and scenic diversions where you can get them.
    • 67 Metascore
    • 38 Michael Phillips
    It's a seriously withholding action comedy, stingy on the wit, charm, jokes, narrative satisfactions and animals with personalities sharp enough for the big screen, either in 2-D or 3-D.
    • 36 Metascore
    • 38 Michael Phillips
    Seven Pounds has a heart as big as all outdoors. Unfortunately it's made out of high-fructose bull.
    • 24 Metascore
    • 38 Michael Phillips
    Bride Wars really does not capture the mood of the moment. It comes from a different time, a different planet.
    • 30 Metascore
    • 38 Michael Phillips
    This material is offensive. The film may end with a straight-faced reassurance that "no actual Torah scrolls were destroyed or damaged in the making of this motion picture," but it's perfectly willing to exploit the Holocaust for cheap, weak thrills.
    • 48 Metascore
    • 38 Michael Phillips
    Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
    • 28 Metascore
    • 38 Michael Phillips
    Feels about 150 years out of date.
    • 56 Metascore
    • 38 Michael Phillips
    It's tough to get on board with these monsters. They don't get the banter they--or we--deserve, and the screenwriters lean on wearying stereotypes.
    • 38 Metascore
    • 38 Michael Phillips
    A coming-of-ager that nearly slaughters you by minute 30 with the relentlessness of its protagonist's voiceovers.
    • 48 Metascore
    • 38 Michael Phillips
    The movie's heart, of course, is with poor addled Mike and his kids, but 17 Again works only fitfully to make the Efron/Perry character worth a story.
    • 32 Metascore
    • 38 Michael Phillips
    Ferrell may well shoulder the blame for Land of the Lost, even if he doesn't deserve it. He did, however, willingly participate in this coarse, sloppy big-screen version of the old Saturday-morning time-warp adventure.
    • 58 Metascore
    • 38 Michael Phillips
    Easy Virtue may be a bauble, as Larita's described at one point, but Coward's examination of hypocrisy demands real skill. The style should suggest "whipped cream with knives," as Stephen Sondheim once described "A Little Night Music." Elliott's film is more like curdled milk with a spork.
    • 30 Metascore
    • 38 Michael Phillips
    Not so much character-driven as character-dragged--against its will.
    • 36 Metascore
    • 38 Michael Phillips
    The poster’s the funniest thing about the project: Johnson, sporting a pair of fairy wings larger than his forearms, glaring at the camera.
    • 22 Metascore
    • 38 Michael Phillips
    We have to take the sexual tension on faith, as with everything in this formulaic glob of a script.
    • 46 Metascore
    • 38 Michael Phillips
    Knight and Day may well suffice for audiences desperate for the bankable paradox known as the predictable surprise, and willing to overlook a galumphing mediocrity in order to concentrate on matters of dentistry.
    • 56 Metascore
    • 38 Michael Phillips
    A remake for schlemiels, or at least easy marks when it comes to formulaic Hollywood comedy. But the film's peculiar sluggishness and nagging hypocrisy probably won't get in the way of its popularity.
    • 62 Metascore
    • 38 Michael Phillips
    For me, the mechanics or even the (excellent) designs are not enough. Jeunet's archness keeps conventional empathy or engagement at bay, and by design maintains a tone of artificiality.
    • 66 Metascore
    • 38 Michael Phillips
    It may well be a hit, but me, I'm waiting for "Iron Man 2."
    • 34 Metascore
    • 38 Michael Phillips
    A weak romantic comedy.
    • 43 Metascore
    • 38 Michael Phillips
    A mild and static attempt at sincere camp.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Michael Phillips
    Lapica isn't yet enough of a writer or director (or an actor) to make the dramatic arc unpredictable in any way. It may be effective for some as therapy. It is far less so as cinematic storytelling.
    • 46 Metascore
    • 38 Michael Phillips
    CJ7
    CJ7 is roughly as grating as that “Flubber” remake.
    • 35 Metascore
    • 38 Michael Phillips
    Moving slowly these days, Reynolds does less than no acting in this role, and he’s still the best thing in Deal.
    • 64 Metascore
    • 38 Michael Phillips
    It wanders and putters and follows its main characters around.
    • 42 Metascore
    • 38 Michael Phillips
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
    • 40 Metascore
    • 38 Michael Phillips
    As robust and clever an actor as Cox is, he can't make Jacques any less of a blowhard; Kari's wit simply doesn't come through in English, at least with this script.
    • 55 Metascore
    • 38 Michael Phillips
    The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
    • 20 Metascore
    • 38 Michael Phillips
    The Last Airbender (they couldn't use the series' "Avatar" title because another film got there first, without all the bending) is more about marshaling extras and interpolating tons of computer-generated effects and keeping the factions straight. It's a tough sit.
    • 37 Metascore
    • 38 Michael Phillips
    What could have been a juicy, pulpy noir, based loosely on the real-life 1976 Mustang Ranch love triangle involving Joe and Sally Conforte and Sally's boxer paramour, instead has the dramatic consistency of rice milk.
    • 37 Metascore
    • 38 Michael Phillips
    Director Burr Steers milks them dry, like an overeager farmer at milking time, which is a paradox since this is the wettest picture of 2010, what with the sea spray and Efron's tear ducts and the general metaphysical mist.
    • 56 Metascore
    • 38 Michael Phillips
    It's reductive, insanely violent slapstick, but that's the phenomenon in a nutshell.
    • 51 Metascore
    • 38 Michael Phillips
    The pathos really are shameless, arriving with killing regularity and false humility.
    • 47 Metascore
    • 38 Michael Phillips
    The choicest dialogue in Burlesque provokes the sort of laughter that other, intentionally funny films only dream of generating.
    • 27 Metascore
    • 38 Michael Phillips
    The sole memorable scene involving a little Focker in Little Fockers, though memorable doesn't mean amusing, involves Ben Stiller's male-nurse character administering a needle full of adrenaline to his dyspeptic and unhappily aroused father-in-law Jack Byrnes, played by Robert De Niro.
    • 26 Metascore
    • 38 Michael Phillips
    Their (The Brothers Strause) effects are pretty good, on a fairly limited budget. And that's about all you can say for Skyline.
    • 50 Metascore
    • 38 Michael Phillips
    Aiming for a piece with the raw impact of "Precious," on which he served as executive producer, he (Perry) ends up with 134 minutes of misjudged intensity.
    • 75 Metascore
    • 38 Michael Phillips
    It is, for what it is, a work of considerable care and craft. And it's completely soulless.
    • 65 Metascore
    • 38 Michael Phillips
    Hanna presents the problem of the well-made diversion that is, at its core, repellent.
    • 31 Metascore
    • 38 Michael Phillips
    An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."
    • 45 Metascore
    • 38 Michael Phillips
    The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.
    • 44 Metascore
    • 38 Michael Phillips
    Hangover II is more like a spitball meeting, a series of ideas that might, in theory, be good enough for a sequel, than it is an actual movie.
    • 52 Metascore
    • 38 Michael Phillips
    Boasts one moment, perhaps three or four seconds in length, so delightfully intense and uncharacteristically juicy that the rest of the film - most of the rest of the whole series, in fact - looks pretty pale by comparison. Not vampire pale. Paler.
    • 45 Metascore
    • 38 Michael Phillips
    Reveals a flash or two of real filmmaking (mostly in a suggestively grotesque birthing sequence), enough to save it from pure lousiness.
    • 42 Metascore
    • 38 Michael Phillips
    Take Me Home Tonight, believe me, you've already seen.
    • 49 Metascore
    • 38 Michael Phillips
    On the whole, I'd rather be on Pluto, which isn't even a planet.
    • 42 Metascore
    • 38 Michael Phillips
    A work of ineffable soullessness and persistent moral idiocy.
    • 41 Metascore
    • 38 Michael Phillips
    Hutcherson spits his lines out as quickly as possible, which you appreciate, because the way the likable Johnson wrestles with his lines ("It looks like the liquefaction has tripled overnight!") you think, well, it's a living.
    • 61 Metascore
    • 38 Michael Phillips
    The first "H&K" caught people off-guard with its canny idiocy and zigzagging, picaresque treasure hunt premise. By now, there's no catching anyone off-guard with these two, except by way of the most off-color and off-putting means possible.
    • 64 Metascore
    • 38 Michael Phillips
    Maybe this review is more about me than about Conan O'Brien, but I really couldn't get past the odor of self-congratulation emanating from nearly every scene in Conan O'Brien Can't Stop.
    • 50 Metascore
    • 38 Michael Phillips
    Because The Campaign tries to say something about truth vs. hogwash in election season, it's doubly sad the efforts of screenwriters Chris Henchy and Shawn Harwell come to so little.
    • 27 Metascore
    • 38 Michael Phillips
    Only Biel and Greer lift it above the level of bleh.
    • 37 Metascore
    • 38 Michael Phillips
    Madonna stayed married to director Guy Ritchie just long enough to absorb his most grating cinematic instincts - shooting in every style, in an addled, shuffle-mode, falsely glamorizing way until all is chaos. And, astonishingly, boredom.
    • 43 Metascore
    • 38 Michael Phillips
    The events of the movie may be a little bit true, or a lot, but hardly any of it plays that way.
    • 59 Metascore
    • 38 Michael Phillips
    Calling Dredd 3D a movie is sort of a lie. It's a premise, and there are levels to reach, and always there's another grimy hallway to stalk, and then you turn right or left, and then kill some more.
    • 46 Metascore
    • 38 Michael Phillips
    If actors this good cannot overcome their material, then we can only say: Tom Hanks, Sandra Bullock … Max von Sydow, Zoe Caldwell, Viola Davis, Jeffrey Wright, John Goodman… thanks for your honest efforts in the service of a fundamentally dishonest weepie.
    • 54 Metascore
    • 38 Michael Phillips
    Here and there, in the father/son scenes, you see a glimmer of an honest interaction. All in all, I'd rather watch a "Ned's Declassified School Survival Guide" rerun.
    • 63 Metascore
    • 38 Michael Phillips
    The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. Twenty minutes into the retelling of fugitive Valjean, his monomaniacal pursuer Javert, the torch singers Fantine and Eponine and the rest, I wanted somebody to just nail the damn camera to the ground.
    • 44 Metascore
    • 38 Michael Phillips
    The Incredible Burt Wonderstone serves as a reminder that everything in a film has a chance to go wrong before a film begins filming. In other words: It's the script, stupid.
    • 42 Metascore
    • 38 Michael Phillips
    Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.
    • 28 Metascore
    • 38 Michael Phillips
    Isn't just the weakest of the "Die Hard" pictures; it's a lousy action movie on its own terms.
    • 35 Metascore
    • 38 Michael Phillips
    Gordon is lost, and his style of shooting - telescopic close-ups, which never give us enough space to appreciate the performers - feels wrong for comedy.
    • 50 Metascore
    • 38 Michael Phillips
    Hit & Run is pretty rancid as comedy. Worse, the chases are strictly amateur hour, all shortcut editing and no gut satisfaction.
    • 36 Metascore
    • 38 Michael Phillips
    The storytelling proceeds in such a halting manner, with De Niro's speeches going on and on and on, that before long you'd kill for an easy scare.
    • 41 Metascore
    • 38 Michael Phillips
    It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.
    • 45 Metascore
    • 38 Michael Phillips
    It's Bay World. And after an hour of Pain & Gain, it felt more like "Pain & Pain."
    • 44 Metascore
    • 38 Michael Phillips
    When Jason Sudeikis and Ed Helms appear in the same movie there's a significant threat of clean-cut sameness. Mediocre material makes them like two halves of the same comic actor: Ed Jason Helms-Sudeikis.
    • 49 Metascore
    • 38 Michael Phillips
    The revenge in Oldboy is neither sweet nor sour; it's just drab.
    • 23 Metascore
    • 38 Michael Phillips
    Terrible but, in its squealing way, sporadically fun-terrible.
    • 53 Metascore
    • 38 Michael Phillips
    This is a fantasy grab bag in which nearly anything can happen.
    • 40 Metascore
    • 38 Michael Phillips
    Salerno blows little more than smoke in this one, especially near the end, when we get to the maybe-probably-sort-ofs regarding the maybe-probably-possibly full vault of unpublished work.
    • 39 Metascore
    • 38 Michael Phillips
    Line to line, Stallone has a particularly numbing penchant for the f-word. But the key f-word in Homefront is "familiar."
    • 41 Metascore
    • 38 Michael Phillips
    The most excellent and lamentable tragedy Romeo and Juliet has been turned into a film that is lamentable without the "excellent" part.
    • 30 Metascore
    • 38 Michael Phillips
    A movie just begging to go up in the flames of camp. If only somebody had brought a match.
    • 41 Metascore
    • 38 Michael Phillips
    "The Misadventurer" is more like it.
    • 37 Metascore
    • 38 Michael Phillips
    Gimme Shelter suffers from an acute case of the fakes. The speeches sound like speeches, and not good ones.
    • 19 Metascore
    • 25 Michael Phillips
    None of it is funny. It’s all pain and no funny.
    • 24 Metascore
    • 25 Michael Phillips
    Just the same auld same auld.
    • 31 Metascore
    • 25 Michael Phillips
    A buddy cop film in which one of the cops continually quotes dialogue espoused by fictional cops, in everything from "Heat" to "RoboCop," and not once is it funny.
    • 20 Metascore
    • 25 Michael Phillips
    This one's a certifiable soul-sucker, dining out on its characters' venalities while wagging a finger at the horror, the horror.
    • 37 Metascore
    • 25 Michael Phillips
    Kathy Baker, as Burden's elegantly sodden mother, shows the only sign of interpretive life in this stiff-jointed enterprise. She has about five minutes on screen; she's lucky that way.
    • 27 Metascore
    • 25 Michael Phillips
    Rosenbush strives for a difficult blend of spoof and sincerity with Zen Noir. In the spirit of rebirth, let's assume that the next time he makes it, it'll turn out fine.
    • 41 Metascore
    • 25 Michael Phillips
    A half-silly, half-earnest indie with the soul of a John Hughes-era sex comedy.
    • 52 Metascore
    • 25 Michael Phillips
    Laughing at the freaks and then feeling bad about it is the sole reason for the existence of this pale little film.
    • 36 Metascore
    • 25 Michael Phillips
    Shottas exists purely in the realm of rasta-music-video fakery.
    • 47 Metascore
    • 25 Michael Phillips
    Writer-director Stewart Wade expanded his festival-circuit short film into a blobby, watery feature-length enterprise, unredeemed by its cast (though Sally Kirkland shows up as Todd's mom).
    • 31 Metascore
    • 25 Michael Phillips
    Watching Heather Graham, Tom Cavanagh and a stridently adorable Alan Cumming do their wide-eyed, moony thing in the romantic comedy Gray Matters raises the question: Is it possible for a filmgoer to be twinkled to death?
    • 27 Metascore
    • 25 Michael Phillips
    Macy's character finds romance with the Madrid, N. M., diner owner played by Marisa Tomei. They're the only two people on screen who relate in any way. But there's no movie here. There is only a tired "City Slickers"-inspired idea for a movie.
    • 41 Metascore
    • 25 Michael Phillips
    Without the brute vigilante junk, this 82-minute picture would be approximately 2 minutes long.
    • 49 Metascore
    • 25 Michael Phillips
    It sets a tone, all right. A lot of gamers (sorry, "filmgoers") may well enjoy writer-director Michael Davis' ultraviolent lark. It's not meant to be taken seriously. But films like this are worth taking seriously because they're genuinely cruddy and hollow and, yes, vile.
    • 32 Metascore
    • 25 Michael Phillips
    Not-funniest comedy of the year so far.
    • 19 Metascore
    • 25 Michael Phillips
    Good Luck Chuck is this year’s low-ender to beat.
    • 46 Metascore
    • 25 Michael Phillips
    Monaghan’s comic timing saves this go-nowhere affair from 100 percent lousiness.
    • 17 Metascore
    • 25 Michael Phillips
    The preposterous 88 Minutes is a serial killer movie starring Al Pacino's festival of hair.
    • 36 Metascore
    • 25 Michael Phillips
    Sucks a whole lot of talented people into a wormhole of lousy. The film either needed to be a lot wittier to make up for the way it looks, or a lot better-looking to compensate for the funny it isn't.
    • 25 Metascore
    • 25 Michael Phillips
    A whopper this isn't. It's not even a Whopper Junior. It's the paper the Whopper Junior came in.
    • 35 Metascore
    • 25 Michael Phillips
    At what point might animators be arrested for doing work so ugly it causes aesthetic blindness in millions of younglings?
    • 30 Metascore
    • 25 Michael Phillips
    Only Sarah Paulson, as the Spirit's doctor and sometime lover, seems to be in there playing the scenes as if she were a human being in a comic book superhero scenario, as opposed to a comic book character stuck in a cruddy movie.
    • 36 Metascore
    • 25 Michael Phillips
    The vocal characterizations aren't the problem here; the script and the animation are the problems, and in feature animation, you can't arrange more significant problems than those.
    • 31 Metascore
    • 25 Michael Phillips
    Max Payne offers max pain along with min invention, and the only thing that keeps it out of the bottom of the Dumpster--it’s more of a top-of-the-Dumpster movie--is the presence of Mark Wahlberg.
    • 41 Metascore
    • 25 Michael Phillips
    As Vaughn's therapist mother, Sissy Spacek comes off best. But she's a rare bird of whom it truly can be said: She's always good. No matter how grim the material.
    • 32 Metascore
    • 25 Michael Phillips
    A funny thing happened to Larry Doyle's 2007 debut novel on the way to the multiplex. It turned into its own ring of coming-of-age comedy hell.
    • 21 Metascore
    • 25 Michael Phillips
    Haven't we seen the oh-my-gosh-my-spouse-is-secretly-an-assassin-but-you-know-a-nice-one routine once too often?
    • 45 Metascore
    • 25 Michael Phillips
    Gordon, she of the Selma Diamond voice and mournful glare, is by far the most interesting aspect in a picture that might be termed unreleasably dull, if it weren't in fact in release at the moment en route to DVD.
    • 35 Metascore
    • 25 Michael Phillips
    Yogi Bear gives cheap hackwork a bad name. Which is a shame, because hackwork made this industry.
    • 57 Metascore
    • 25 Michael Phillips
    The exhausting slapstick violence is the film's chief variation, and it's no fun at all.
    • 49 Metascore
    • 25 Michael Phillips
    What's remarkable about the remake is its nastiness.
    • 33 Metascore
    • 25 Michael Phillips
    Offers only one point of interest beyond the breasts of its second female lead: Aniston's barely disguised disdain for her material.
    • 28 Metascore
    • 25 Michael Phillips
    This movie is crushingly ordinary in every way, which with Rand I wouldn't have thought possible.
    • 48 Metascore
    • 25 Michael Phillips
    Certainly Sir Arthur Conan Doyle's creations have suffered permanent damage thanks to Ritchie's films.
    • 41 Metascore
    • 25 Michael Phillips
    It's the neediest movie of 2011, and one of the phoniest.
    • 45 Metascore
    • 25 Michael Phillips
    It's miscast, barely functional in terms of technique, stupid and unnecessary. Other than that….
    • 35 Metascore
    • 25 Michael Phillips
    This latest version is le pits.
    • 31 Metascore
    • 25 Michael Phillips
    Pure, witless discombobulation.
    • 20 Metascore
    • 25 Michael Phillips
    As if by deliberate and vaguely sadistic design, Hoodwinked Too! Hood Vs. Evil leeches the fun clean out of the first "Hoodwinked" (2005).
    • 48 Metascore
    • 25 Michael Phillips
    The aftereffects of watching Lockout include an inability to focus or to complete a simple declarative sentence without an ill-timed cutaway in the middle.
    • 26 Metascore
    • 25 Michael Phillips
    In A Thousand Words the camera stays about two inches from Murphy's hyperactive face, and you start to see the strain and desperation in the actor's eyes.
    • 18 Metascore
    • 25 Michael Phillips
    The Devil Inside joins a long, woozy-camera parade of found-footage scare pictures, among them "The Blair Witch Project," the "Paranormal Activity" films and certain wedding videos that won't go away.
    • 47 Metascore
    • 25 Michael Phillips
    Dominated by Adam Sandler's D-minus Bela Lugosi impression, the 3-D animated feature Hotel Transylvania illustrates the difference between engaging a young movie audience and agitating it, with snark and noise and everything but the funny.
    • 37 Metascore
    • 25 Michael Phillips
    In scenes such as hundreds of Natives being slaughtered by U.S. troops behind Gatling guns, we have Tonto and the Lone Ranger acting like a couple of comic-relief ninnies, screwing around aimlessly for laughs on a handcar. It's as if the movie were having a nervous breakdown. At one point the masked man gets his head dragged through horse manure. Watching The Lone Ranger, you know the feeling.
    • 35 Metascore
    • 25 Michael Phillips
    The film may as well be titled "Stephenie Meyer's Waiting Around."
    • 45 Metascore
    • 25 Michael Phillips
    Revenge is a dish best served cold, as some Albanian dramatist once said, but Taken 2 isn't good-cold, as in steely and purposeful; it's cold as in "lost the scent."
    • 41 Metascore
    • 25 Michael Phillips
    Arkin in particular can barely hide his lack of enthusiasm for the material. Some of the looks he shoots his co-stars appear to contain a secret code of some kind, deciphered as: 'Well, at least I'm in 'Argo.'"
    • 46 Metascore
    • 25 Michael Phillips
    If it weren't for Kate Lyn Sheil, who has a couple of scenes as a blase Brooklyn waitress inexplicably ending up in the protagonist's bed, 'The Comedy' might well have qualified as the worst film of 2012.
    • 36 Metascore
    • 25 Michael Phillips
    Big problem straight off: tone. The violence isn't slapsticky; it's just violent.
    • 27 Metascore
    • 0 Michael Phillips
    It's not just the sound of crickets you hear watching this movie. It's the sound of dead crickets.
    • 26 Metascore
    • 0 Michael Phillips
    The result just might be the most hypocritical feature in the history of film as well as the history of hypocrisy, and along with serving beer, I hope they show I Hope They Serve Beer in Hell in hell.
    • 46 Metascore
    • 0 Michael Phillips
    You live in a free country, you put up with crud like Hostel Part II. It truly is crud, though.
    • 21 Metascore
    • 0 Michael Phillips
    The most horrifying film of 2007, Bratz is based on the popular line of collagen-lipped, doe-eyed slut-ette dolls and their male companions, "the boys with a passion for fashion ... and the Bratz!" (In other words, they're bi-curious.)
    • 22 Metascore
    • 0 Michael Phillips
    Nothing in this movie is properly focused; everyone keeps talking about a character whom we never meet and does not matter; the tone keeps slipping around from indolent satire to thudding sincerity, and the Challenger shuttle disaster backdrop is queasy-making at best, offensive at worst.
    • 48 Metascore
    • 0 Michael Phillips
    Rarely has the question of a documentary's artifice mattered less. I genuinely hated this picture, almost as much as I've admired Phoenix's work in everything from "Gladiator" to "Walk the Line" and even the hackneyed but affecting "Two Lovers."
    • 33 Metascore
    • 0 Michael Phillips
    Snyder must have known in preproduction that his greasy collection of near-rape fantasies and violent revenge scenarios disguised as a female-empowerment fairy tale wasn't going to satisfy anyone but himself.
    • 31 Metascore
    • 0 Michael Phillips
    Even with 87.5 years to go, the 21st century may never see a stupider comedy than That's My Boy.
    • 44 Metascore
    • 0 Michael Phillips
    A Good Old-Fashioned Orgy isn't just not funny, it's totally just not funny.
    • 37 Metascore
    • 0 Michael Phillips
    It's a soul-crusher, and when I say it may be the most dehumanizing experience since "Hostel: Part II" the comparison is not an idle one.
    • 37 Metascore
    • 0 Michael Phillips
    This is the worst, least, dumbest picture made by people of talent this year.