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 Heaven Knows What
Lowest review score: 0 Only God Forgives
Score distribution:
1702 movie reviews
    • 31 Metascore
    • 50 Michael Phillips
    With her arresting, off-kilter look of bruised desire, Michelle Williams ends up being the most interesting aspect of this somber corn.
    • 57 Metascore
    • 50 Michael Phillips
    You find yourself smiling at some of the bits, wincing through many, many others, and ultimately wondering if the pacing would've improved had either H or K developed a terrible cocaine habit.
    • 64 Metascore
    • 50 Michael Phillips
    It has a rich premise and no lack of amazements. What it lacks in any sort of dramatic shape.
    • 62 Metascore
    • 50 Michael Phillips
    Roughly the same as the first in terms of quality and style. It delivers without much visual dynamism, and with a determined emphasis on combat. In the 1951 novel the climactic battle between the good Narnians and the bad Telmarines lasted a few pages. The film version of the same battle feels like "The Longest Day."
    • 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.
    • 49 Metascore
    • 50 Michael Phillips
    Cinematographer Zhao Xiaoding manages some lovely images, and some of Spottiswoode’s compositions remind you he's capable of fine work. But Hogg never comes to life, on the page or on the screen.
    • 51 Metascore
    • 50 Michael Phillips
    Savage Grace comes up bland and seems to go nowhere in particular.
    • 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.
    • 54 Metascore
    • 50 Michael Phillips
    Missed it by that much. Actually, the new version of Get Smart misses by a fair-size margin.
    • 64 Metascore
    • 50 Michael Phillips
    What are Jolie and Freeman and McAvoy doing here, besides acting cooler than Clive Owen in "Shoot ’Em Up"? Cashing a check, that's what. Bekmametov may have talent, but the arrested-adolescent "escapism" of this picture emits a pretty bad odor.
    • 43 Metascore
    • 50 Michael Phillips
    The heartbreaking thing about Meet Dave...is its occasional funniness amid a sea of pablum. If it were completely rank, it'd be less frustrating.
    • 51 Metascore
    • 50 Michael Phillips
    It's funny what you buy completely onstage and resist completely, or nearly, on-screen. Case in point: Mamma Mia!
    • 51 Metascore
    • 50 Michael Phillips
    This debut picture never makes up its mind about what sort of comedy it wants to be. But at least it has one--a mind, that is.
    • 47 Metascore
    • 50 Michael Phillips
    The story is both a muddle and a drag.
    • 53 Metascore
    • 50 Michael Phillips
    At times the film appears on the verge of morphing into a singing-cowboy musical.
    • 54 Metascore
    • 50 Michael Phillips
    Striving for low-key character comedy, Diminished Capacity ends up diminishing its returns.
    • 32 Metascore
    • 50 Michael Phillips
    The film's tone is utterly indistinct, beyond fatuous adoration of its subject.
    • 56 Metascore
    • 50 Michael Phillips
    Wine may be sunlight held together by water, as Galileo said, but Bottle Shock is held together only by Alan Rickman.
    • 44 Metascore
    • 50 Michael Phillips
    Unfortunately it’s all a bit dull.
    • 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.
    • 39 Metascore
    • 50 Michael Phillips
    As skillful and charismatic as Gere is, I never get the sense he's really in there, conversing with his fellow actor.
    • 37 Metascore
    • 50 Michael Phillips
    Half the time I wasn't sure what Lee was going for in terms of tone, or style, or focus. It was a tricky assignment to begin with, because McBride's novel, and his screenplay, is part socio-historical corrective, part magical-realist folklore, part wartime procedural.
    • 47 Metascore
    • 50 Michael Phillips
    One wishes LaBute, a bleak satirist and, at his best, a crudely compelling dramatist, had taken the script and made it his own sort of twisted comedy instead of a routine thriller
    • 45 Metascore
    • 50 Michael Phillips
    Full of interesting little grace notes, and the cast is excellent, yet it grows more and more frustrating.
    • 58 Metascore
    • 50 Michael Phillips
    Too often The Express sidelines its own main character in favor of the lemon-sucking, jaw-jutting glower patented by Quaid.
    • 62 Metascore
    • 50 Michael Phillips
    The film disappoints particularly in relation to "Young Adam," an earlier picture about sexual obsession from writer-director David Mackenzie; this one's more in line with the creamy tones and surface readings of "Asylum."
    • 31 Metascore
    • 50 Michael Phillips
    The film is responsible, earnest, well-intentioned and, as it was in Sundance, maddeningly inconsistent.
    • 53 Metascore
    • 50 Michael Phillips
    The film itself, which has everything from erection jokes to a computer-generated tornado, comes down to a battle between the interpreters and a screenplay riddled with convenience, cliche and well-meaning contrivance.
    • 45 Metascore
    • 50 Michael Phillips
    This film is very different: chilly, methodical, a slave to 10-ton metaphor as opposed to metaphoric provocation.
    • 69 Metascore
    • 50 Michael Phillips
    Ashes of Time Redux remains a hermetic and rather frustrating work, dotted by lonely, windblown figures dwarfed by the sand dunes of western China.

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