Michael Phillips

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For 1,571 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 4.5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Diary of a Teenage Girl
Lowest review score: 0 What Goes Up
Score distribution:
1,571 movie reviews
    • 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?
    • 50 Metascore
    • 50 Michael Phillips
    The very elements of Eat Pray Love that helped make it a success in 40 languages -- the breezy prose, the relentless sorting-through of dissatisfactions, a steady stream of intriguing sights -- turn the film into a travelogue with a little spiritual questing on the side.
    • 45 Metascore
    • 50 Michael Phillips
    At one point Rourke delivers a monologue about his time in Bosnia, and the conviction the actor brings to the occasion throws the movie completely out of whack. What's actual acting doing in a movie like this?
    • 52 Metascore
    • 50 Michael Phillips
    Too much of the contrasting comedy in Nanny McPhee Returns is shrill, laden with routine computer-generated effects and pounded into dust by James Newton Howard's shut-up-already musical score.
    • 55 Metascore
    • 50 Michael Phillips
    A dramatic true story has been made into a diffident biopic.
    • 45 Metascore
    • 50 Michael Phillips
    The story should have made for charming results on screen. Instead - and I truly don't enjoy saying so - co-adapter and director Rob Reiner's picture lands somewhere between synthetic nostalgia and the texture of real life.
    • 60 Metascore
    • 50 Michael Phillips
    It's outlandishly gory and bluntly political, the latter being more interesting than the former. It wears out its welcome, though, long before la revolucion and sequels are promised.
    • 39 Metascore
    • 50 Michael Phillips
    Legendary is so intent on paying heartfelt tribute to dogged young athletes that it neglects basic story needs.
    • 61 Metascore
    • 50 Michael Phillips
    Secretariat isn't bad but it's precisely what you'd expect.
    • 56 Metascore
    • 50 Michael Phillips
    Morgan and Eastwood are scrupulous in keeping their notions of the afterlife as general and inoffensive as possible. They have no religious or spiritual worldview to sell. As I say: Many admire this film to no end. I found its use of recent tragic events, including the London underground bombing, to be more than a little cheap.
    • 37 Metascore
    • 50 Michael Phillips
    A facsimile of a masquerade of a gloss on "Charade," and on all the lesser cinematic charades that followed in the wake of director Stanley Donen's 1963 picture.
    • 44 Metascore
    • 50 Michael Phillips
    Dwayne Johnson leaves his lovable self behind in the violent but bland Faster.
    • 55 Metascore
    • 50 Michael Phillips
    They put the "obvious" in "obvious."
    • 49 Metascore
    • 50 Michael Phillips
    The results impart that "trapped" feeling all too well. It's a sullen affair, dominated by a grim visual palette that intrigues for about 30 minutes.
    • 43 Metascore
    • 50 Michael Phillips
    She tackled "The Tempest" on stage, years ago. On screen I wish she'd (Taymor) adapted it with a freer hand, and then directed it with a more considered one.
    • 45 Metascore
    • 50 Michael Phillips
    My God is this script predictable. Each relapse and betrayal shows up announced, and then announced again, a little louder, by the dialogue equivalent of an aggravating doorman.
    • 46 Metascore
    • 50 Michael Phillips
    Unexpectedly sour, The Dilemma barely qualifies as a comedy.
    • 39 Metascore
    • 50 Michael Phillips
    Too much. Too numbing. Too coy. And ultimately too violent.
    • 50 Metascore
    • 50 Michael Phillips
    You've seen worse. The film industry is capable of better.
    • 58 Metascore
    • 50 Michael Phillips
    For many, this central performance will be more than enough. For others, the film will simply be too much.
    • 42 Metascore
    • 50 Michael Phillips
    Here and there an image of spectral beauty, assisted by the 3-D technology, floats into view and captures our imagination. But the script, which really should've been called "Sanctimonium," has a serious case of the bends.
    • 36 Metascore
    • 50 Michael Phillips
    I found the mythology of I Am Number Four vague and sloppy.
    • 45 Metascore
    • 50 Michael Phillips
    It's secondhand, vaguely resigned material. And while Sudeikis has some talent, he's not yet ready to co-anchor a feature comedy. He's no Ed Helms, in other words.
    • 29 Metascore
    • 50 Michael Phillips
    Seyfried's a good actress, but all the art direction in the world can't make this version of events the stuff either of dreams or of nightmares.
    • 45 Metascore
    • 50 Michael Phillips
    The cast is not the limitation here. The limitation, and I found it to be a drag on this aggressively audience-pleasing indie, relates directly to its premise.
    • 57 Metascore
    • 50 Michael Phillips
    The script avoids going full-bore as satire. Where it goes instead lacks a purpose, a reason for being, beyond the usual name-checking of "The X-Files" and the like.
    • 51 Metascore
    • 50 Michael Phillips
    I didn't laugh much, nor did my 10-year-old companions, but nobody had their soul crushed by the experience. This is the film industry's Hippocratic oath: First, crush no souls.
    • 63 Metascore
    • 50 Michael Phillips
    Rio
    The movie isn't dull, exactly; the problem lies in the other, antsy direction.
    • 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.
    • 48 Metascore
    • 50 Michael Phillips
    Writer-director Silver, who trained in documentaries, appears flummoxed by the challenges of getting the audience inside the heads of these young men.

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