Michael Phillips

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For 1,702 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 45 Years
Lowest review score: 0 The Do-Over
Score distribution:
1702 movie reviews
    • 34 Metascore
    • 50 Michael Phillips
    For the record, Gus Van Sant recently made "The Sea of Trees," set in the same infamous suicide forest, starring Matthew McConaughey and Ken Watanabe. In its contrived sentimentality that film is twice as frightening as this one.
    • 52 Metascore
    • 50 Michael Phillips
    Isn’t eye candy; it’s a drool-worthy slice of eye pie.
    • 48 Metascore
    • 50 Michael Phillips
    What proved tasty in book form comes across a little more like work in the movie.
    • 31 Metascore
    • 50 Michael Phillips
    Many of the original film's booby-trap scenarios are repeated here, but without Milius' grandiosity and nihilism. There's less of both in the new Red Dawn. It's not a disaster. It's just drab.
    • 48 Metascore
    • 50 Michael Phillips
    21
    21 isn’t pretentious, exactly, but it’s damn close, and in trying to whip up a melodramatic morality tale the film becomes an increasingly flabby slog.
    • 36 Metascore
    • 50 Michael Phillips
    It's mostly noise and splurch and, as I mentioned, aaaaarrrrggggghhhhh!
    • 55 Metascore
    • 50 Michael Phillips
    More an argument than a fully fleshed-out drama ... The script is unconvincing; two key narrative twists, one related to the other, are deeply hokey.
    • 45 Metascore
    • 50 Michael Phillips
    Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.
    • 72 Metascore
    • 50 Michael Phillips
    Eastwood's foursquare directorial aesthetic tends to heighten, rather than camouflage, a screenplay's shortcomings.
    • 50 Metascore
    • 50 Michael Phillips
    Padding disguised as a feature-length screenplay, adapted from Belber's one-act.
    • 64 Metascore
    • 50 Michael Phillips
    Here and there, the actor invests the kind of feeling that makes The Way come alive in human terms.
    • 54 Metascore
    • 50 Michael Phillips
    An Israeli-on-Arab version of "Shampoo," You Don’t Mess With the Zohan is terrible in many ways, and shoddy in every way that has to do with filmmaking. But politically it's sort of interesting.
    • 50 Metascore
    • 50 Michael Phillips
    You've seen worse. The film industry is capable of better.
    • 47 Metascore
    • 50 Michael Phillips
    The movie, full of talented performers in search of a more propulsive vehicle, settles for workmanlike cover-band status, which makes this a cover-band tribute to a jukebox musical - a long way from true, trashy exhilaration.
    • 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.
    • 55 Metascore
    • 50 Michael Phillips
    Agora has everything except real drama.
    • 56 Metascore
    • 50 Michael Phillips
    Absurdly brutal slapstick is a tough thing to sustain across a feature. I spent a lot of The Three Stooges staring, not laughing. For me this was a stare-out-loud affair.
    • 66 Metascore
    • 50 Michael Phillips
    Not even the film's occasional bursts of ultra-violence, or the endlessly oozing red clay, or Hiddleston crying a red tear, or Chastain swanning around in one flaming crimson ball gown after another, can infuse this gorgeous bore with anything like red-blooded suspense.
    • 56 Metascore
    • 50 Michael Phillips
    Whitman's a wily cross between Janeane Garofalo and Ellen Page and in her scenes with her motivational-speaker single mother (Allison Janney), you sense a better movie lurking in the shadows.
    • 55 Metascore
    • 50 Michael Phillips
    Despite a few good ideas and the uniformly splendid production and costume designs by Luhrmann's mate and partner, Catherine Martin, this frenzied adaptation of The Great Gatsby is all look and no feel.
    • 42 Metascore
    • 50 Michael Phillips
    The gentle erotic undertow in the friendship of Snow Flower and Lily has been toned down, and replaced by … niceness.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Michael Phillips
    The whole thing feels a bit desperate.
    • 42 Metascore
    • 50 Michael Phillips
    It sounds fun. It's a little fun. For a while. But Bekmanbetov shoots every killing spree like an addled gamer, working that slow-down-speed-up kill-shot cliche like a maniac.
    • 39 Metascore
    • 50 Michael Phillips
    Planes has practically no visual distinction, it's a complete knockoff, but I think it'll get by with the kids.
    • 44 Metascore
    • 50 Michael Phillips
    The dialogue comes straight out of "The Benny Goodman Story." That look, someone says to a staring, pausing Kutcher, "tells me you're on to something big." Nobody talks in this movie; everyone speechifies or take turns sloganing one another to death.
    • 69 Metascore
    • 50 Michael Phillips
    Woodley is an ace at handling laughter through tears — "my favorite emotion," as a character in "Steel Magnolias" once said. She improves with each new film, even when the films themselves aren't much.
    • 51 Metascore
    • 50 Michael Phillips
    Clarke has loads of talent, but in Me Before You she's undermined by director Sharrock's technique, and an endless slew of overeager reaction shots (She's clumsy! She's twinkling!) exacerbated by editor John Wilson.
    • 51 Metascore
    • 50 Michael Phillips
    Predators, plural, starts well and ends poorly, and in the middle it's in the middle.

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