Michael Phillips

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For 1,816 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 Greenberg
Lowest review score: 0 Hostel: Part II
Score distribution:
1816 movie reviews
    • 61 Metascore
    • 50 Michael Phillips
    Too often the film itself simply shuffles the postcards of Tibetan scenery, Buddhist rituals and the Tibetan people (many amazing faces on view, to be sure).
    • 49 Metascore
    • 50 Michael Phillips
    Most of this doc is content to wander through Franken's recent show-biz resume, to no particular end.
    • 47 Metascore
    • 50 Michael Phillips
    Just about everything in the video-gamey World War I picture Flyboys rings false, although the planes certainly are terrific.
    • 49 Metascore
    • 50 Michael Phillips
    The flaw in Death of a President isn't one of morality. It's one of dramatic interest.
    • 58 Metascore
    • 50 Michael Phillips
    Despite the proficient technique, after a while you may feel you're watching a particularly scenic snuff film.
    • 74 Metascore
    • 50 Michael Phillips
    After the fourth electrocution gag, the 10th smack in the face and the 12th assault on a wee rodent crotch, we could all use something quiet.
    • 44 Metascore
    • 50 Michael Phillips
    While Brand manages a couple of effectively brutal bits of violence, Matthew Waynee's gassy screenplay is all premise and no propulsion.
    • 55 Metascore
    • 50 Michael Phillips
    A large amount of dope is smoked in The Pick of Destiny, perhaps the most since the salad days of Cheech & Chong. This may be the problem. Pot rarely helped anybody's comic timing.
    • 52 Metascore
    • 50 Michael Phillips
    The Holiday is a 131-minute romantic comedy for those who, if they had their way, would still be watching "Love Actually."
    • 68 Metascore
    • 50 Michael Phillips
    With "Braveheart," "Passion" and now Apocalypto, Gibson clearly has established his priorities as a director. History is gore, plus a few hearthside family interludes. The trick is instilling the audience with enough rageful bloodlust to make the story work.
    • 56 Metascore
    • 50 Michael Phillips
    By the time Perfume arrives at its ridiculous mass orgy, staged at the gallows where Grenouille is supposed to meet his end, you really would rather see him meet his end than endure a ridiculous mass orgy.
    • 32 Metascore
    • 50 Michael Phillips
    If you want a relationship comedy that feels like last year's stuff, doesn't go far enough in any direction and is made watchable only by an overqualified ensemble, there's The Ex.
    • 43 Metascore
    • 50 Michael Phillips
    Making her feature-film directorial debut, Grant is going for an everyday conversational texture and a sense of life's curveballs. But the results wander and you never really believe them.
    • 45 Metascore
    • 50 Michael Phillips
    This film was not based on a video game, but that's the vibe and the aesthetic at work here: YEAH! KILL!, followed by a few muttered expressions of the horror, the horror.
    • 65 Metascore
    • 50 Michael Phillips
    Apted and his collaborators are so in awe of their subject they neglect to bring him to full human life.
    • 29 Metascore
    • 50 Michael Phillips
    As Premonition zigzags toward its solution it loses its head completely, packing a risible final reel with left-field religious disquisitions and heartfelt warnings against infidelity.
    • 53 Metascore
    • 50 Michael Phillips
    A screwy assassination thriller for these murky times, it takes half its pages from Soldier of Fortune and the other half from links provided by conspiracytheories-zapoppin.org.
    • 31 Metascore
    • 50 Michael Phillips
    It lacks the rutting nuttiness of "Basic Instinct," even as it recycles much of that film's kiss-or-kill premise.
    • 47 Metascore
    • 50 Michael Phillips
    Kasdan has inherited much of his father's surface skills; he knows how to round out a scene and keep things on story point. But In the Land of Women doesn't for a moment feel messy and chaotic where it counts.
    • 43 Metascore
    • 50 Michael Phillips
    Routine cinema but rich history.
    • 58 Metascore
    • 50 Michael Phillips
    I doubt even rabid fans of the first two will consider Shrek the Third a worthy addition to the franchise.
    • 45 Metascore
    • 50 Michael Phillips
    It is passable comic book stuff, dumb and loud. Loud. LOUD.
    • 79 Metascore
    • 50 Michael Phillips
    Feels constrained and rather dutiful, no matter how passionate these people are about what they're observing.
    • 62 Metascore
    • 50 Michael Phillips
    I did like seeing the (fakey-looking) sheep take flying neck-high leaps at various human throats, in scenes recalling the killer rabbit in "Monty Python and the Holy Grail." And I enjoyed the Kiwi dialects. And I suspect King's next film will be better.
    • 37 Metascore
    • 50 Michael Phillips
    The film is half rutting goat, half preacher.
    • 50 Metascore
    • 50 Michael Phillips
    After seeing No Reservations you'll be hungry for a really top-flight meal. And, to go with it, a better film.
    • 46 Metascore
    • 50 Michael Phillips
    Turns out to be nothing special. Well, the music is. The storytelling is not.
    • 66 Metascore
    • 50 Michael Phillips
    It's the big stuff that doesn't really work, at least well enough to be called special.
    • 56 Metascore
    • 50 Michael Phillips
    Ruthlessly skilled as Atkinson is, the Bean persona of generic, maniacally grinning ineptitude owes most of its appeal to seeing just how far an actor can pull a face without pulling a muscle.
    • 46 Metascore
    • 50 Michael Phillips
    They should've thrown everything away except the title and the outline. That's what the "Devil Wears Prada" creative team did, and that film turned out a lot richer than this one.

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