Michael Phillips

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For 1,802 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 2.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 A Serious Man
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
1802 movie reviews
    • 58 Metascore
    • 38 Michael Phillips
    Silly, sadistic and finally a little galling, Kingsman: The Secret Service answers the question: What would Colin Firth have been like if he'd played James Bond?
    • 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.
    • 30 Metascore
    • 38 Michael Phillips
    A movie just begging to go up in the flames of camp. If only somebody had brought a match.
    • 32 Metascore
    • 38 Michael Phillips
    Broken Horses raises the question of what is cockamamie, and what is cockamamie and outlandish and ridiculous yet a perfectly swell time for those very reasons. This one's just cockamamie without the swell part.
    • 53 Metascore
    • 38 Michael Phillips
    Only the architecturally refined bone structure of Kristin Scott Thomas' face rescues Keeping Mum from full-on tedium.
    • 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.
    • 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.
    • 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.
    • 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.
    • 18 Metascore
    • 38 Michael Phillips
    Strange as it seems, if you choose to set aside the female roles in The Ridiculous 6 reducing women to cleavage or to mute humiliation, the movie is a long, long way from the worst Sandler movie ever made.
    • 40 Metascore
    • 38 Michael Phillips
    The Boss has zero finesse as a comedy.
    • 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.
    • 45 Metascore
    • 38 Michael Phillips
    The wastrel Sparrow ends up both overexploited and underpowered in this fourth outing.
    • 42 Metascore
    • 38 Michael Phillips
    The film is perfectly mediocre, which is heartbreaking, not heartwarming.
    • 28 Metascore
    • 38 Michael Phillips
    The film, with its wearying gamer-style rounds of death, is routine at best.
    • 47 Metascore
    • 38 Michael Phillips
    The choicest dialogue in Burlesque provokes the sort of laughter that other, intentionally funny films only dream of generating.
    • 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.
    • 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.
    • 42 Metascore
    • 38 Michael Phillips
    A work of ineffable soullessness and persistent moral idiocy.
    • 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.
    • 41 Metascore
    • 38 Michael Phillips
    Optimism is nowhere to be found in Ritchie's movie itself. It is a grim and stupid thing, from one of the world's most successful mediocre filmmakers, and if Shakespeare's King Lear were blogging today, he'd supply the blurb quote: "Nothing will come of nothing."
    • 37 Metascore
    • 38 Michael Phillips
    The movie is all preening and very few laughs, though Daddario and Efron have a few moments, and Johnson remains a supremely likable slab of movie star.
    • 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.
    • 28 Metascore
    • 38 Michael Phillips
    The rhythmic assurance of truly bracing screen action, even if it's just a bunch of metal beating up a bunch of other metal, or clobbering humans, never gains traction. The cross-cutting suggests the editors took care of things via group text.
    • 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.
    • 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.
    • 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?
    • 29 Metascore
    • 38 Michael Phillips
    Star vehicles this rickety have a way of making the world unsafe for comic democracy.
    • 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.
    • 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.

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