Michael Phillips

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For 1,691 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 4 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Son of Saul
Lowest review score: 0 Vacation
Score distribution:
1691 movie reviews
    • 65 Metascore
    • 50 Michael Phillips
    Does not know when to quit. Nor does it extract much fun from a cockamamie story provided by George Lucas.
    • 53 Metascore
    • 50 Michael Phillips
    Folks, I confess: I'm coping with a mild case of arachno-apatha-phobia, defined as the fear of another so-so "Spider-Man" sequel.
    • 40 Metascore
    • 50 Michael Phillips
    Despite a blue-chip cast, Aloha is just frustrating. It can barely tell its story straight, and Crowe's attempt to get back to the days of "Jerry Maguire" and "Almost Famous" is bittersweet in ways unrelated to the narrative's seriocomic vein.
    • 60 Metascore
    • 50 Michael Phillips
    Who would have believed a film with this much skin and reckless, life-threatening excess could end up a rather dull muddle?
    • 40 Metascore
    • 50 Michael Phillips
    The script of Shrink, written by Thomas Moffett, plays like "Crash" without the angst or the perpetual racial conflagrations.
    • 58 Metascore
    • 50 Michael Phillips
    More happens in Eclipse than in the previous "Twilight" zone, "New Moon," and yet it's duller
    • 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
    My favorite thing in the movie is the way co-star and Korean action icon Byung Hun Lee uses his feet of fury to hoist a paint can and send it flying.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Michael Phillips
    Rio
    The movie isn't dull, exactly; the problem lies in the other, antsy direction.
    • 63 Metascore
    • 50 Michael Phillips
    Clooney remains as game as ever, but the way he and McDormand push the energy here, you feel the strain. Pitt, just floating through, comes off best. He doesn't judge the moron he's playing; he just is.
    • 38 Metascore
    • 50 Michael Phillips
    Girl Most Likely goes a little bit wrong in nearly every scene, its stridently quirky characters never quite making sense together in the same universe, let alone the same movie.
    • 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.
    • 30 Metascore
    • 50 Michael Phillips
    The sharpest five minutes in Alex Cross, by a considerable margin, belong to Giancarlo Esposito.
    • 51 Metascore
    • 50 Michael Phillips
    Those looking for some human interest in their human interest may be equally frustrated.
    • 53 Metascore
    • 50 Michael Phillips
    Veers perilously close to the concept of poverty tourism.
    • 55 Metascore
    • 50 Michael Phillips
    Heartbreakingly average, director Robert Redford's The Conspirator errs in the way so many films do, especially films about unsung pieces of American history. It focuses on the wrong character.
    • 33 Metascore
    • 50 Michael Phillips
    The movie bumps along from low-grade scare to scare, and it's not lousy, mainly because Virginia Madsen prevents it from being so.
    • 64 Metascore
    • 50 Michael Phillips
    It has a rich premise and no lack of amazements. What it lacks in any sort of dramatic shape.
    • 55 Metascore
    • 50 Michael Phillips
    Dark Shadows illustrates the fine line in a pop reboot between "relaxed" and "lazy."
    • 55 Metascore
    • 50 Michael Phillips
    The chief argument regarding his (Smith) "Human Centipede" riff is pretty basic: good trash or stupid trash? I'd say roughly half and half.
    • 41 Metascore
    • 50 Michael Phillips
    Toward the end, G-Force starts making no sense at all, neither tonally or narratively. It may not matter to the target audience, though the look on my son's face when it was over was pure Buster Keaton. He says he liked it well enough. Me, a little less.
    • 33 Metascore
    • 50 Michael Phillips
    The Last Song is primarily for teenagers looking for something disposable to cry about for a couple of hours, though I did find it a tad easier to take than "Dear John."
    • 57 Metascore
    • 50 Michael Phillips
    For me Chastain's unerring honesty is the only element keeping The Disappearance of Eleanor Rigby above the realm of pure affectation.
    • 36 Metascore
    • 50 Michael Phillips
    Nothing is harder and more elusive than successful slapstick onscreen. Nothing.
    • 49 Metascore
    • 50 Michael Phillips
    A fine and moving film could be made from this story, which was inspired, loosely, by events and situations in the lives of Kurtzman and Orci. But the script sets an awfully low bar for Sam's redemption.
    • 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.
    • 55 Metascore
    • 50 Michael Phillips
    They put the "obvious" in "obvious."
    • 54 Metascore
    • 50 Michael Phillips
    The movie strolls through its paces, sometimes amusingly, though by the end you've heard "Volare" and "Arrivederci Roma" reprised often enough to make you wish "Volare" and "Arrivederci Roma" had never been written.

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