Michael Phillips
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For 1,483 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 5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Climates
Lowest review score: 0 What Goes Up
Score distribution:
1,483 movie reviews
    • 74 Metascore
    • 100 Michael Phillips
    It is a wonder, marked by a sense of wondrous skepticism that has nothing to do with cynicism.
    • 66 Metascore
    • 100 Michael Phillips
    Baumbach’s achievement stings. It also has the sureness of tone and direction of a Chekhov story.
    • 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.
    • 78 Metascore
    • 100 Michael Phillips
    This is a superb picture, sharp, open-minded, wised-up and cinematically accomplished.
    • 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
    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.
    • 79 Metascore
    • 100 Michael Phillips
    Even with its limitations, I find Silent Light spellbinding.
    • 85 Metascore
    • 100 Michael Phillips
    The Sun sheds only so much literal light on its chosen subject; it's a film of shadows and silence, the calm before and after the storm. But everything you see and hear carries weight and an eerie poetic undercurrent.
    • 76 Metascore
    • 100 Michael Phillips
    Extraordinary.
    • 75 Metascore
    • 100 Michael Phillips
    The stories we hear in 24 City belong to its specific place, but they are universal.
    • 86 Metascore
    • 100 Michael Phillips
    "All right" doesn't begin to describe it. The Kids Are All Right is wonderful. Here is a film that respects and enjoys all of its characters, the give-and-take and recklessness and wisdom of any functioning family unit, conventional or un-.
    • 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.
    • 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.
    • 81 Metascore
    • 100 Michael Phillips
    What are the odds that the year's most compelling mystery would end up hanging its hat on the year's richest love story
    • 75 Metascore
    • 100 Michael Phillips
    It takes something like a miracle to unlock the magic in his exquisite aggravations, the essence of the human comedy. This film is indeed something like a miracle.
    • 85 Metascore
    • 100 Michael Phillips
    It's an uncompromising drama, not easy to watch. And it is one of the year's highlights.
    • 86 Metascore
    • 100 Michael Phillips
    It is enraging yet nuanced, an elusive combination for any documentary.
    • 80 Metascore
    • 100 Michael Phillips
    Extremely moving, exceedingly droll, flawlessly voice-acted.
    • 87 Metascore
    • 100 Michael Phillips
    Moneyball is the perfect sports movie for these cash-strapped times of efficiency maximization.
    • 84 Metascore
    • 100 Michael Phillips
    It's one of the year's most pleasurable American movies.
    • 85 Metascore
    • 100 Michael Phillips
    This is one of the finest achievements of the year, and while it's easy to lose your way in the labyrinth, I don't think Tinker, Tailor, Soldier, Spy is most interesting for its narrative pretzels. Rather, it's about what this sort of life does to the average human soul.
    • 82 Metascore
    • 100 Michael Phillips
    Incendies is no mere riff on a Greek mainstay. It is its own entity, delicate and fierce. Already I've risked making it sound like homework. It's not; it's an enthralling drama of survival.
    • 86 Metascore
    • 100 Michael Phillips
    The cave exists to provoke awe in mere mortals. The camera pauses at one point to take in a stalagmite reaching up to touch, nearly, a stalactite and the inevitable association is with Michelangelo's Adam and the hand of God.
    • 95 Metascore
    • 100 Michael Phillips
    The film is a singular achievement, a piece of realist cinema with the pull of a suspense thriller.
    • 97 Metascore
    • 100 Michael Phillips
    While this is very much a McQueen picture, with visual flourishes and motifs unmistakably his, the historical urgency and staggering injustice of the events keep McQueen and company utterly honest in their approach and in their collective act of imagining Solomon Northup's odyssey to hell and back.
    • 83 Metascore
    • 100 Michael Phillips
    In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making.
    • 95 Metascore
    • 100 Michael Phillips
    The key American film of 2012 ... Its stance is extremely tricky. It's not a documentary. It's not a load of revenge nonsense. It's not '24.' I'm still arguing with myself over parts of it. And that's a sign that a movie will endure.

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