Michael Phillips
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For 1,434 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 Lebanon
Lowest review score: 0 Sucker Punch
Score distribution:
1,434 movie reviews
    • 86 Metascore
    • 100 Michael Phillips
    The Master is brilliantly, wholly itself for a little more than half of its 137 minutes. Then it chases its own tail a bit and settles for being merely a fascinating metaphoric father-son relationship reaching endgame. It may not all "work," but most of it's remarkable.
    • 76 Metascore
    • 100 Michael Phillips
    Flight is exciting - terrific, really - because in addition to the sophisticated storytelling techniques by which it keeps us hooked, it doesn't drag audience sympathies around by the nose, telling us what to think or how to judge the reckless, charismatic protagonist played by Denzel Washington.
    • 77 Metascore
    • 100 Michael Phillips
    See it, and I dare you not to care about what happens to these kids, these Yankees of chess.
    • 86 Metascore
    • 100 Michael Phillips
    It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
    • 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.
    • 94 Metascore
    • 100 Michael Phillips
    Small, sure and stunningly acted, this is a picture of exacting control.
    • 81 Metascore
    • 100 Michael Phillips
    Dense like a detailed graphic novel in the Chris Ware or R. Crumb vein, but a real movie in every way, Consuming Spirits is a strange and wormy accomplishment, the sort of personal epic only the most obsessive of cinematic madmen undertake, let alone complete.
    • 91 Metascore
    • 100 Michael Phillips
    This is a great and necessary document in support of a two-state solution. Even those who don't believe in such a solution may find their minds changed by The Gatekeepers.
    • 81 Metascore
    • 100 Michael Phillips
    No
    No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.
    • 71 Metascore
    • 100 Michael Phillips
    Your kids may will fall in love with it, if you help them find it.
    • 83 Metascore
    • 100 Michael Phillips
    Yes, for every star there are five more also-rans and maybe-next-times. But there is honor and glory in being part of the blend. And, at the film's midpoint, when Clayton talks about the late-night recording session in 1969 of "Gimme Shelter," the memory takes on the glow of myth.
    • 85 Metascore
    • 100 Michael Phillips
    Fruitvale Station works because Coogler and his leading man present a many-sided protagonist, neither saint nor unalloyed sinner.
    • 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.
    • 84 Metascore
    • 100 Michael Phillips
    Some may find the film underpowered. Not me. With elegant understatement, Cohen creates a humane testament to reaching out, whatever our habits and routines.
    • 90 Metascore
    • 100 Michael Phillips
    The whole movie, a feast of ensemble wiles and stunning hair, is juicy, funny and alive.
    • 90 Metascore
    • 100 Michael Phillips
    Her
    A delicate, droll masterwork, writer-director Spike Jonze's Her sticks its neck out, all the way out, asserting that what the world needs now and evermore is love, sweet love. Preferably between humans, but you can't have everything all the time.
    • 82 Metascore
    • 100 Michael Phillips
    Finally! A comedy that works.
    • 89 Metascore
    • 100 Michael Phillips
    Ida
    One of the year's gems.
    • 100 Metascore
    • 100 Michael Phillips
    In completing this simple, beautiful project Linklater took his time. And he rewards ours.
    • 87 Metascore
    • 100 Michael Phillips
    Whiplash is true to its title. It throws you around with impunity, yet Chazelle exerts tight, exacting control over his increasingly feverish and often weirdly comic melodrama.
    • 85 Metascore
    • 88 Michael Phillips
    No halves about it: Half Nelson is a wholly absorbing and delicately shaded portrait of an educator played by Ryan Gosling, a young man harboring an offstage secret.
    • 91 Metascore
    • 88 Michael Phillips
    The film goes pretty easy on the royals in the end, and it's a flattering portrait of Blair. But it's not credulous. Frears may swim in the political mainstream with The Queen but he does so like a champion channel crosser.
    • 86 Metascore
    • 88 Michael Phillips
    Deliver Us From Evil has a few things wrong with it, including an egregious musical score, but without resorting to sucker punches, it takes your breath away while making your skin crawl.
    • 82 Metascore
    • 88 Michael Phillips
    An exorcism movie for the rest of us, the gripping German drama Requiem contains not a single special effect. It doesn't need one. It has terrific actors fully invested in a casual-seeming, docudramatic brand of storytelling, notably Sandra Hueller.
    • 77 Metascore
    • 88 Michael Phillips
    A seriously entertaining highlight of the fall season.
    • 84 Metascore
    • 88 Michael Phillips
    You always get more than one genre with this filmmaker. Volver draws upon all sorts of influences -- a little Hitchcock, a little Douglas Sirk, a little telenovela -- but from those sources Almodovar and his collaborators, both on screen and behind the camera, make an improbably organic whole.
    • 81 Metascore
    • 88 Michael Phillips
    Eleven years ago director Campbell made "GoldenEye," the first of the Brosnan Bond pictures. Casino Royale trumps it every which way.
    • 84 Metascore
    • 88 Michael Phillips
    It is that rare futuristic thriller: grim in its scenario, yet exhilarating in its technique.
    • 74 Metascore
    • 88 Michael Phillips
    Earns its happy ending like few other contemporary dramas concerned with the fate of a child. It puts you through hell for that ending, in fact, hell being modern-day Russia.
    • 88 Metascore
    • 88 Michael Phillips
    Mafioso is shaped like a comedy, and it is one, but its intentionally jarring clashes of tone and rhythm are truly out there.