Michael Phillips
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For 1,452 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 A Serious Man
Lowest review score: 0 Fun Size
Score distribution:
1,452 movie reviews
    • 71 Metascore
    • 100 Michael Phillips
    The self-taught man behind the griddle, his wife, Eve, and their five seen-it-all kids emerge as the ensemble of the year.
    • 75 Metascore
    • 100 Michael Phillips
    Unnervingly good, Little Children is one of the rare American films about adultery that feels right--dangerous, hushed, immediate.
    • 89 Metascore
    • 100 Michael Phillips
    Borat is a rarity: a comedy whose middle name is danger, or as the Kazakhs say, kauwip-kater.
    • 72 Metascore
    • 100 Michael Phillips
    The beauty of the Turkish film Climates, a small but indelible masterpiece, is more than skin-deep. No 2006 film meant more to me. It's as sharp and lovely as the best Chekhov short stories.
    • 89 Metascore
    • 100 Michael Phillips
    The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career.
    • 67 Metascore
    • 100 Michael Phillips
    The style is brash, and it works. Tucker and Epperlein illustrate Yunis' account of his eight-month imprisonment, much of that time spent at the notorious Abu Ghraib compound, with literal illustrations--pages seemingly torn out of a Frank Miller graphic novel.
    • 94 Metascore
    • 100 Michael Phillips
    Burnett's documentarian empathy, coupled with his easygoing skill as a dramatic essayist, result in a film that doesn't look, feel or breathe like any American work of its generation.
    • 73 Metascore
    • 100 Michael Phillips
    Arnold reminds us that the best thrillers don't settle for taking the audience away from their everyday experience; rather, they burrow inward and, by sheer power of cinematic observation, make it hard for us to look away lest we miss something--on a screen or off.
    • 88 Metascore
    • 100 Michael Phillips
    It's a very small piece, working in a deceptively casual storytelling style. But it's my favorite music film since "Stop Making Sense," and it's more emotionally satisfying than any of the Broadway-to-Hollywood adaptations made in the last 20 years.
    • 96 Metascore
    • 100 Michael Phillips
    Its sense of humor is more sly, more sophisticated and more interesting than most PG-13 or R-rated comedies at the moment. The film may be animated, and largely taken up with rats, but its pulse is gratifyingly human.
    • 89 Metascore
    • 100 Michael Phillips
    May be the best and saddest film of the year so far.
    • 74 Metascore
    • 100 Michael Phillips
    It is a wonder, marked by a sense of wondrous skepticism that has nothing to do with cynicism.
    • 92 Metascore
    • 100 Michael Phillips
    It is wonderful: a rhapsodic adaptation of a memoir, a visual marvel that wraps its subject in screen romanticism without romanticizing his affliction. It left me feeling euphoric.
    • 66 Metascore
    • 100 Michael Phillips
    Baumbach’s achievement stings. It also has the sureness of tone and direction of a Chekhov story.
    • 92 Metascore
    • 100 Michael Phillips
    Day-Lewis... the role of a lifetime.
    • 81 Metascore
    • 100 Michael Phillips
    The first great film of the year. It’s beautiful but so much more—full of subtle feeling, framed by a monstrous, eroding landscape.
    • 97 Metascore
    • 100 Michael Phillips
    The result is a mixture of unified atmosphere and lived-in character study, and while Vasiliu’s role is not as indelible as that of her co-stars, Marinca’s Otilia and Ivanov’s steely abortionist are just about perfect.
    • 67 Metascore
    • 100 Michael Phillips
    Green is a rare bird in American filmmaking: a humanist who knows how to tell a story.
    • 85 Metascore
    • 100 Michael Phillips
    It's unlike any other war film, in any language.
    • 86 Metascore
    • 100 Michael Phillips
    A gem made by a filmmaker who loves life, and knows how to capture its ebb and flow and sweet complication.
    • 79 Metascore
    • 100 Michael Phillips
    A kinetic delight, Reprise comes from director Joachim Trier, born in Denmark but raised in Oslo, Norway, and it’s a highlight of the filmgoing year so far.
    • 94 Metascore
    • 100 Michael Phillips
    While I may argue with the little guy's taste in musicals, it's remarkable to see any film, in any genre, blend honest sentiment with genuine wit and a visual landscape unlike any other.
    • 82 Metascore
    • 100 Michael Phillips
    Sensational, grandly sinister and not for the kids, The Dark Knight elevates pulp to a very high level.
    • 78 Metascore
    • 100 Michael Phillips
    This is a superb picture, sharp, open-minded, wised-up and cinematically accomplished.
    • 89 Metascore
    • 100 Michael Phillips
    The film itself is perfectly poised between artistry and audacity. It's beautiful.
    • 83 Metascore
    • 100 Michael Phillips
    Trouble the Water is so much better and truer and deeper and more illuminating than either of them ("Bowling for Columbine"/"Fahrenheit 9/11").
    • 84 Metascore
    • 100 Michael Phillips
    It works from a specific place and lets audiences relate to that place, and the people in it, like trusted intimates.
    • 84 Metascore
    • 100 Michael Phillips
    Ballast strikes me as one of the few American pictures of 2008 to say what it wants to say, visually and narratively, about a specific situation and part of the country, in a way that transcends regional specifics.
    • 82 Metascore
    • 100 Michael Phillips
    This is one of the real finds of 2008.
    • 84 Metascore
    • 100 Michael Phillips
    Desplechin's films are great, chaotic, unsettling fun. This one's scored, elegantly, to a mixture of standards and classics and original music by Gregoire Hetzel.

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