Michael Phillips

Select another critic »
For 1,571 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 4.5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Ida
Lowest review score: 0 Only God Forgives
Score distribution:
1,571 movie reviews
    • 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.
    • 45 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.
    • 38 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.
    • 32 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.
    • 59 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.
    • 62 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.
    • 42 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.
    • 53 Metascore
    • 50 Michael Phillips
    Folks, I confess: I'm coping with a mild case of arachno-apatha-phobia, defined as the fear of another so-so "Spider-Man" sequel.
    • 69 Metascore
    • 50 Michael Phillips
    Woodley is an ace at handling laughter through tears — "my favorite emotion," as a character in "Steel Magnolias" once said. She improves with each new film, even when the films themselves aren't much.
    • 38 Metascore
    • 50 Michael Phillips
    The sequel is a disappointing step down, and backward.
    • 40 Metascore
    • 50 Michael Phillips
    Half the time, Deliver Us From Evil is genuinely interested in Sarchie's all-too-human demons, and half the time we're marking time until the big exorcism and an ending that keeps the door open for a sequel, should the market demand it.
    • 70 Metascore
    • 50 Michael Phillips
    Swanberg may be one of the few American filmmakers who'd benefit from reading one of those "10 Rules for Mediocre Hollywood Screenwriting" how-to books. Many find a kind of truth and life and rough domestic magic in his films. Here and there, now and then, I see what they're talking about.
    • 61 Metascore
    • 50 Michael Phillips
    When everything and anything is possible, nothing feels urgent or truly dramatic. The movie devolves into a melange of digital effects and sequences of glamorous slaughter, as Lucy swaggers around, with that big brain, and slouches toward becoming a full-lipped deity.
    • 53 Metascore
    • 50 Michael Phillips
    Beyond Affleck's, the performances here lack amplitude and dramatic impact.
    • 59 Metascore
    • 50 Michael Phillips
    What If brings up the distinctions among wit, jokes and robotic banter, and this new romantic comedy has a bit of the first and a few of the second, but it's largely a case of the third.
    • 35 Metascore
    • 50 Michael Phillips
    The best thing about this self-mocking affair, which runs a leisurely two-plus hours and affords plenty of time for an insane body count, is Antonio Banderas' manic gusto in the role of a gabby mercenary.
    • 47 Metascore
    • 50 Michael Phillips
    It's not a lousy experience. Taylor Swift shows up in a glorified cameo. Thwaites has promise; Rush has more than that. But for a movie decrying the concept of societal "sameness," The Giver is a hypocritical movie indeed.
    • 46 Metascore
    • 50 Michael Phillips
    If Rodriguez had any selectivity as an action director and a purveyor of garish thrills, the violence might have an impact beyond benumbing the spectator. "Sin City 2" keeps piling on, flipping the visual pages and selling the same ancient lessons in misogyny that real noir, or neo-noir, exploited yet transcended.
    • 46 Metascore
    • 50 Michael Phillips
    Kline took on Douglas Fairbanks in Richard Attenborough's "Chaplin" and Cole Porter in Irwin Winkler's "De-Lovely"; he's the go-to biopic ace for roles requiring some fizz, a certain droll elevation and hair parted and slicked-back just so.
    • 50 Metascore
    • 50 Michael Phillips
    Aubrey Plaza is so deadpan she's undeadpan, and not just in her new zombie movie.
    • 55 Metascore
    • 50 Michael Phillips
    The chief argument regarding his (Smith) "Human Centipede" riff is pretty basic: good trash or stupid trash? I'd say roughly half and half.
    • 57 Metascore
    • 50 Michael Phillips
    For me Chastain's unerring honesty is the only element keeping The Disappearance of Eleanor Rigby above the realm of pure affectation.
    • 57 Metascore
    • 50 Michael Phillips
    For an hour or so The Equalizer glides along and works; in the second hour, plus change, it turns into a shameless slaughter contrivance with a flabby sense of pace. I did like one line: "When you pay for rain, you gotta deal with the mud too." Washington's the rain; by the end, the movie is the mud.
    • 61 Metascore
    • 50 Michael Phillips
    The Boxtrolls remains relentlessly busy up through its final credits, and it's clever in a nattering way. But it's virtually charmless.
    • 38 Metascore
    • 50 Michael Phillips
    All of it is plausible, if one were to break the narrative into its component parts; together, though, those parts resemble "Babel" or "Crash" or other determinedly topical mosaics that end up falsifying their own concerns.
    • 52 Metascore
    • 50 Michael Phillips
    Like Martin Scorsese's "Shutter Island," Stonehearst Asylum starts with the hysteria knob set at 11 and goes up from there.
    • 63 Metascore
    • 50 Michael Phillips
    The best of Laggies, both in the writing and the playing, comes in the square-offs between Knightley and Rockwell.
    • 31 Metascore
    • 50 Michael Phillips
    The film is not badly made. It is, however, weirdly flat, given the stakes and the wild screaming matches.
    • 59 Metascore
    • 50 Michael Phillips
    By the second hour of The Battle of the Five Armies, the visual approach becomes a paradox: monotonously dynamic epic storytelling.
    • 62 Metascore
    • 50 Michael Phillips
    The Keanes' story is one of eventual triumph over adversity for Margaret, but Big Eyes struggles on the page to make much of her as a character. Adams struggles as well; she's acting in one movie, a sincere, often anguished one, while Waltz (mugging up a storm) works in an entirely different key.
    • 72 Metascore
    • 50 Michael Phillips
    The film is rarely dull; it's one life-and-death sequence after another, and the filmmaking's efficient, crisply delivered. But Eastwood honors his subject without really getting under his skin.
    • 45 Metascore
    • 50 Michael Phillips
    Still Life is a very different story, small and quiet and, unfortunately, airless.
    • 40 Metascore
    • 50 Michael Phillips
    The movie doesn't really work, but the jet boots would be the envy of Iron Man, and they allow our hero, unwisely named Caine Wise, to speedskate through the air, leaving pretty little trails of light over downtown Chicago.
    • 56 Metascore
    • 50 Michael Phillips
    Whitman's a wily cross between Janeane Garofalo and Ellen Page and in her scenes with her motivational-speaker single mother (Allison Janney), you sense a better movie lurking in the shadows.
    • 56 Metascore
    • 50 Michael Phillips
    Screen chemistry between two individuals isn't really a pass/fail proposition. There are degrees involved. But let's pretend otherwise and say yes, Smith and Robbie pass, barely, with less than flying colors and in a pretty dull movie.
    • 39 Metascore
    • 50 Michael Phillips
    Director Morel brings some style and speed to the proceedings, though I found The Gunman increasingly numbing in the carnage department. Compared with someone like Neeson, Penn's avenging angel is a less relatable fellow.
    • 51 Metascore
    • 50 Michael Phillips
    There's really no other word for what Helen Mirren is doing in certain reaction shots, out of subtle interpretive desperation: mugging. She's mugging. She is a sublimely talented performer, and this is material with fascinating implications, and I doubt there's a moviegoer in the world who doesn't like Helen Mirren. But even the best actors need a director to tell them to tone it down.
    • 33 Metascore
    • 50 Michael Phillips
    Even when Eastwood and Robertson, pleasant enough company, threaten to float off the screen, The Longest Ride glides along and delivers its reheated comfort food by the ton.
    • 50 Metascore
    • 50 Michael Phillips
    True Story is a case of a well-crafted film, made by a first-time feature director with an impressive theatrical pedigree, that nonetheless struggles to locate the reasons for telling its story.
    • 57 Metascore
    • 50 Michael Phillips
    The relative success or failure of Adult Beginners, directed with a steady, nonjudgmental hand by Ross Katz, depends on how funny you find Kroll. I find him funny-ish.
    • 50 Metascore
    • 50 Michael Phillips
    Crowe's feature directorial debut, The Water Diviner, stems from an honest impulse to dramatize ordinary people who honor their dead. Yet the results are narratively dishonest and emotionally a little cheap.
    • 63 Metascore
    • 50 Michael Phillips
    It's a two-hour lesson in how to act like a frenemy to your alleged friends. And it's not funny enough.
    • 40 Metascore
    • 50 Michael Phillips
    Despite a blue-chip cast, Aloha is just frustrating. It can barely tell its story straight, and Crowe's attempt to get back to the days of "Jerry Maguire" and "Almost Famous" is bittersweet in ways unrelated to the narrative's seriocomic vein.
    • 38 Metascore
    • 50 Michael Phillips
    Piven's performance basically made the series, and to the degree the new film works, which is a little, he makes that too.
    • 48 Metascore
    • 50 Michael Phillips
    I laughed three or four times, mostly at verbal byplay since director MacFarlane struggles when it comes to timing, filming and cutting sight gags.
    • 64 Metascore
    • 50 Michael Phillips
    It's worth seeing, on balance, simply for what Mark Ruffalo does in a hundred different, discrete, telling ways as he creates a character who was a capital-A Character, outlandish one minute, scarily unpredictable the next.
    • 34 Metascore
    • 50 Michael Phillips
    Self/less hews closely enough to the premise of the 1966 John Frankenheimer thriller "Seconds" to qualify as an unofficial remake. Then again, anyone who remembers that one is not in the target audience for this one.
    • 53 Metascore
    • 50 Michael Phillips
    Irrational Man is full of holes. Abe's supposed to be a disillusioned activist, yet that side of him is so half-assedly developed, it's as if Allen himself didn't believe it.
    • 53 Metascore
    • 50 Michael Phillips
    The cast is full of strong actors, among them Tahar Rahim (riveting in "A Prophet") as Samba's allegedly Brazilian friend and confidant. It's easy to enjoy what the cast does on screen; it's harder to buy the nutty mood swings.
    • 54 Metascore
    • 50 Michael Phillips
    Why does this film, with so many first-rate artists in its corner, not quite work? Partly it's a matter of style, but mostly it's because the script is made of tin.
    • 55 Metascore
    • 50 Michael Phillips
    How is that Vikander, who played the robot in the recent (and worthwhile) "Ex Machina," was twice as lively and five times as human in that picture than in The Man from U.N.C.L.E.?
    • 69 Metascore
    • 50 Michael Phillips
    The actors save it, periodically, from itself, simply by setting a natural tone and finding some truth in an extended sketch.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 38 Michael Phillips
    CJ7
    CJ7 is roughly as grating as that “Flubber” remake.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 38 Michael Phillips
    It wanders and putters and follows its main characters around.
    • 56 Metascore
    • 38 Michael Phillips
    The appeal of the film version, such as it is, relates almost entirely to eye-for-an-eye, severed-limb-for-a-limb vengeance, two hours and 41 minutes of it, with just enough solemnity to make anyone who thought "The Dark Knight" was a little gassy think twice about which superhero myth THEY'RE calling gassy.
    • 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.
    • 43 Metascore
    • 38 Michael Phillips
    The movie itself is hyperactive and a jumble.
    • 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.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 38 Michael Phillips
    Feels about 150 years out of date.
    • 48 Metascore
    • 38 Michael Phillips
    Astonishingly, Angels & Demons IS the same sort of lumbering mediocrity.
    • 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.
    • 35 Metascore
    • 38 Michael Phillips
    Fox's cleavage is the only camera object that catches Bay's attention for more than a millisecond.
    • 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.
    • 45 Metascore
    • 38 Michael Phillips
    How big a bastard can Woody Allen build a screenplay around and still generate a modicum of audience goodwill? The answer: not this big.
    • 47 Metascore
    • 38 Michael Phillips
    The pacing throughout is languid. Your eye becomes fixated on the hideous 70s wallpaper behind them. If only the story's interstellar narrative developments had the intensity of that wallpaper. Rod Serling might've gotten a great hour out of it (the story, that is, not the wallpaper). It simply is not two hours' worth, no matter how many quantum leaps into the unknown Kelly takes.
    • 33 Metascore
    • 38 Michael Phillips
    I wish the movie made emotional sense, because it’s all about getting in touch with whatever’s holding you back, but it doesn’t.
    • 57 Metascore
    • 38 Michael Phillips
    It's a serious drag to see how Ritchie has turned Holmes and Dr. Watson into a couple of garden-variety thugs.
    • 30 Metascore
    • 38 Michael Phillips
    Not so much character-driven as character-dragged--against its will.
    • 34 Metascore
    • 38 Michael Phillips
    Numbingly gory when it isn’t just plain numbing.
    • 17 Metascore
    • 38 Michael Phillips
    There’s nothing wrong with All About Steve that a rewrite couldn’t fix, as long as the rewrite involved a different writer, a different character and a different story.
    • 27 Metascore
    • 38 Michael Phillips
    This is “True Lies” without the striptease or the Arab-maiming.
    • 33 Metascore
    • 38 Michael Phillips
    The scenery's nice. But once you've said the scenery's nice, you're no longer talking about a movie worth talking about.
    • 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.
    • 25 Metascore
    • 38 Michael Phillips
    Certain scenes in When in Rome signify nothing less than the death of screen slapstick, but I’m hoping it’s one of those fake-out movie deaths where it’s not really dead, not forever.
    • 35 Metascore
    • 38 Michael Phillips
    The acting's not the problem, and it's a nice thing to find Moore playing a human-scaled human being, with a recognizable human touch. The material has a hint of it too. But only a hint.
    • 22 Metascore
    • 38 Michael Phillips
    We have to take the sexual tension on faith, as with everything in this formulaic glob of a script.
    • 66 Metascore
    • 38 Michael Phillips
    It may well be a hit, but me, I'm waiting for "Iron Man 2."
    • 42 Metascore
    • 38 Michael Phillips
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
    • 34 Metascore
    • 38 Michael Phillips
    A weak romantic comedy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 38 Michael Phillips
    The choicest dialogue in Burlesque provokes the sort of laughter that other, intentionally funny films only dream of generating.
    • 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.
    • 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.
    • 51 Metascore
    • 38 Michael Phillips
    The pathos really are shameless, arriving with killing regularity and false humility.
    • 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.
    • 75 Metascore
    • 38 Michael Phillips
    It is, for what it is, a work of considerable care and craft. And it's completely soulless.
    • 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.
    • 31 Metascore
    • 38 Michael Phillips
    An exhaustingly pushy, phallocentric and witlessly smutty spoof of early '80s medieval fantasies such as "Krull" and "The Beastmaster."
    • 65 Metascore
    • 38 Michael Phillips
    Hanna presents the problem of the well-made diversion that is, at its core, repellent.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Michael Phillips
    A work of ineffable soullessness and persistent moral idiocy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Michael Phillips
    Davis, in particular, manages to create a fully dimensional character in the midst of a highly polemical screenplay.
    • 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.
    • 27 Metascore
    • 38 Michael Phillips
    Only Biel and Greer lift it above the level of bleh.
    • 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.
    • 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.
    • 53 Metascore
    • 38 Michael Phillips
    This is a fantasy grab bag in which nearly anything can happen.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 38 Michael Phillips
    It's no better, no worse and essentially no different from the jocular, clodhopping brutality of the first one.
    • 22 Metascore
    • 38 Michael Phillips
    Terrible but, in its squealing way, sporadically fun-terrible.
    • 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.
    • 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.
    • 40 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."
    • 49 Metascore
    • 38 Michael Phillips
    The revenge in Oldboy is neither sweet nor sour; it's just drab.
    • 39 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.
    • 30 Metascore
    • 38 Michael Phillips
    A movie just begging to go up in the flames of camp. If only somebody had brought a match.
    • 38 Metascore
    • 38 Michael Phillips
    How much of what we see in Third Person is the novelist's invention is part of the guessing game that goes on and on. And. On.
    • 36 Metascore
    • 38 Michael Phillips
    Sex Tape settles for violence when violent slapstick, a lot harder to finesse, was the implicit goal of the picture.
    • 38 Metascore
    • 38 Michael Phillips
    The slapstick is awful; the pathos isn't much better, though it's far more plentiful.
    • 44 Metascore
    • 38 Michael Phillips
    Nobody watches a disaster movie starring digital tornadoes expecting Oscar Wilde. But Into the Storm, directed with bland efficiency by Steven Quayle of "Final Destination 5," reminds us that unless a movie establishes certain base-line levels of human interest, it runs the not-unentertaining risk of coming out squarely in favor of its own bad weather.
    • 46 Metascore
    • 38 Michael Phillips
    A lot of the rougher stuff, depicting Ig's late-inning vengeance, is sadistically misjudged. It's hard to jerk tears a beat or two after gleeful rounds of brutality, even if it happens to, or because of, dear wee Daniel Radcliffe.
    • 33 Metascore
    • 38 Michael Phillips
    The overall vibe of this folly is curdled and utterly blase; it's a 118-minute foregone conclusion, finesse-free and perilously low on the simple performance pleasures we look for in any musical, of any period.
    • 30 Metascore
    • 38 Michael Phillips
    I wish The Boy Next Door were a different, zingier sort of mediocrity, but whenever it threatens to go the full Zalman King "Two Moon Junction" route, it pulls back and behaves itself and settles for a grindingly predictable series of escalations.
    • 45 Metascore
    • 38 Michael Phillips
    Black or White may not be racist, exactly, but it patronizes its African-American characters up, down and sideways, and audiences of every ethnicity, background, hue and predilection can find something to dislike.
    • 62 Metascore
    • 38 Michael Phillips
    It's passable.

Top Trailers