Michael Phillips
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For 1,559 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 4.6 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
Lowest review score: 0 A Good Old Fashioned Orgy
Score distribution:
1,559 movie reviews
    • 63 Metascore
    • 50 Michael Phillips
    It is less a film than a puny trampoline -- an occasion, though a grim one, for this most fervently movie-mad of American directors to show off his love for the various pulp genres mooshed together by the 2003 Dennis Lehane novel.
    • 47 Metascore
    • 50 Michael Phillips
    The emotions and crises feel pre-sanded, smooth to the point of blandness.
    • 70 Metascore
    • 50 Michael Phillips
    Why isn’t the film better? Guggenheim doesn’t seem to have prodded his subjects in any interesting directions.
    • 40 Metascore
    • 50 Michael Phillips
    The script of Shrink, written by Thomas Moffett, plays like "Crash" without the angst or the perpetual racial conflagrations.
    • 47 Metascore
    • 50 Michael Phillips
    The movie’s partially redeemed by Seyfried, who makes her character more than a repository for audience sympathy. (Her make-out scene with Fox is handled with more suspense and care than anything else in the movie.)
    • 53 Metascore
    • 50 Michael Phillips
    Veers perilously close to the concept of poverty tourism.
    • 42 Metascore
    • 50 Michael Phillips
    Jackson has not cast himself well, though. He has slathered the imagery in the wrong kind of wonderment and hyperbole, both on Earth and in heaven.
    • 65 Metascore
    • 50 Michael Phillips
    While White plays it supercool, Tommy Davidson and Arsenio Hall (as Cream Corn and Tasty Freeze, respectively) swing for the fences, without much in the way of a bat.
    • 58 Metascore
    • 50 Michael Phillips
    A surer hand behind the camera might’ve finessed the jokes more effectively, or established a consistent and satisfying tone.
    • 71 Metascore
    • 50 Michael Phillips
    What are they trying to accomplish and is this really the best way to accomplish it?
    • 45 Metascore
    • 50 Michael Phillips
    The results feel a little harried, as if the focus issues were never really solved.
    • 43 Metascore
    • 50 Michael Phillips
    I truly wish Dear John were a better, less shamelessly manipulative movie, but a couple of the actors got me through it alive. One is Amanda Seyfried.
    • 47 Metascore
    • 50 Michael Phillips
    Suggests that this could be the start of something adequate. Something big would've been nicer, though the movie's limitations are less a matter of scale than of imagination.
    • 34 Metascore
    • 50 Michael Phillips
    In sum it plays like 12 landlocked episodes of "The Love Boat" rammed together, though without the same rate of intercourse.
    • 47 Metascore
    • 50 Michael Phillips
    DePietro struggles to reconcile the perceived demands of the romantic comedy genre (though his film is more bittersweet than most) and the tang and hustle and detail of real life.
    • 43 Metascore
    • 50 Michael Phillips
    Good actors and a talented director doing what they can to bring the truth to a script that's mostly bogus.
    • 46 Metascore
    • 50 Michael Phillips
    I laughed here and there at She's Out of My League, but I sort of hated everything it had to say about nerds and babes and the sliding scale of self-image.
    • 40 Metascore
    • 50 Michael Phillips
    The dialogue can drive you crazy with its self-consciousness.
    • 56 Metascore
    • 50 Michael Phillips
    Kids may love the movie, and even kids who love the books may like it. For me, though, an astonishing percentage of the books' appeal has vanished.
    • 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."
    • 36 Metascore
    • 50 Michael Phillips
    Clean, precise and terribly sullen, After.Life is like its female protagonist. It feels stuck between worlds, or genres.
    • 55 Metascore
    • 50 Michael Phillips
    Duchovny and Moore have their moments; they're like two preening sharks working on commission.
    • 35 Metascore
    • 50 Michael Phillips
    By today's standards, it is only medium-bloody, though it's more than usually grim, its young protagonists sullen enough to qualify for the "Twilight" movies. Yet it affords precious little sadistic pleasure, partly because it "dares" to lay out more directly the pedophiliac demons plaguing Freddy the serial killer.
    • 27 Metascore
    • 50 Michael Phillips
    I enjoyed these characters more when they were rich, rather than obscenely rich, when their self-involvement and life crises had one foot on planet Earth -- and when they weren't all gussied up like Mae West in "Sextette."
    • 33 Metascore
    • 50 Michael Phillips
    Here's how you know Josh Brolin has become a movie star: Jonah Hex may not be much with him, but without him? Perish the thought. Perish it, throw an ax in its heart, then burn it to a crisp.
    • 30 Metascore
    • 50 Michael Phillips
    The only people humiliated, really, are older people and heavy people and nerds and vegans and black people and mothers who breast-feed their 4-year-olds. Everybody else gets a pass.
    • 55 Metascore
    • 50 Michael Phillips
    Agora has everything except real drama.
    • 43 Metascore
    • 50 Michael Phillips
    Newell has done some fine work in all sorts of genres, from “Four Weddings and a Funeral” to “Harry Potter and the Goblet of Fire,” but in “Cholera” he seems to be chronicling a half-century of events, passions and desires as a tourist, not a native.
    • 58 Metascore
    • 50 Michael Phillips
    More happens in Eclipse than in the previous "Twilight" zone, "New Moon," and yet it's duller
    • 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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