Michael Phillips
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For 1,408 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 4.8 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Margot at the Wedding
Lowest review score: 0 Bratz
Score distribution:
1,408 movie reviews
    • 92 Metascore
    • 100 Michael Phillips
    This is one of the screen's most rewarding explorations of the teacher/student relationship in any language.
    • 91 Metascore
    • 100 Michael Phillips
    It is personal filmmaking of the highest order, recognized with an Academy Award nomination for best foreign film.
    • 79 Metascore
    • 100 Michael Phillips
    Even with its limitations, I find Silent Light spellbinding.
    • 88 Metascore
    • 100 Michael Phillips
    Up
    Some of the comic inventions are inspired: Muntz has a pack of dogs equipped with electronic voice boxes, which means they're talking dogs, only they speak as if they've learned English from a poorly translated Berlitz guide.
    • 87 Metascore
    • 100 Michael Phillips
    The characters in Gomorrah may lack an extra dramatic dimension: Garrone errs, if anything, on the side of detachment. Yet that detachment is also the key to the film's success. There's so little hooey and melodramatic head-banging here.
    • 76 Metascore
    • 100 Michael Phillips
    A sweet, sharp coming-of-age romance, Adventureland is a little warmer, a little funnier and a lot more truthful than the last 20 or 30 of its ilk. Especially its Hollywood ilk.
    • 82 Metascore
    • 100 Michael Phillips
    This one slice of the American experience amounts to one of the best films of the year.
    • 84 Metascore
    • 100 Michael Phillips
    It all comes together as formidably detailed and easy-breathing craftsmanship.
    • 71 Metascore
    • 100 Michael Phillips
    Not since Robert Altman took on “Popeye” a generation ago, and lost, has a major director addressed such a well-loved, all-ages title. This time everything works, from tip to tail.
    • 75 Metascore
    • 100 Michael Phillips
    The stories we hear in 24 City belong to its specific place, but they are universal.
    • 79 Metascore
    • 100 Michael Phillips
    A tart, brilliantly acted fable of life’s little cosmic difficulties, a Coen brothers comedy with a darker philosophical outlook than “No Country for Old Men” but with a script rich in verbal wit.
    • 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.
    • 77 Metascore
    • 100 Michael Phillips
    Some films aren't revelations, exactly, but they burrow so deeply into old truths about love and loss and the mess and thrill of life, they seem new anyway. A Single Man is one such film, one of the best of 2009
    • 81 Metascore
    • 100 Michael Phillips
    It's not for all tastes; it requires some patience. The more your own job involves absurd, time-consuming bits of minutiae, the more familiar (and amusing) it'll seem.
    • 76 Metascore
    • 100 Michael Phillips
    Extraordinary.
    • 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
    • 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-.
    • 85 Metascore
    • 100 Michael Phillips
    It's an uncompromising drama, not easy to watch. And it is one of the year's highlights.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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 film is a singular achievement, a piece of realist cinema with the pull of a suspense thriller.
    • 82 Metascore
    • 100 Michael Phillips
    The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.
    • 80 Metascore
    • 100 Michael Phillips
    An indelible portrait of an American family at its most blithely macabre.