Michael Phillips
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For 1,555 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 Man on Wire
Lowest review score: 0 Only God Forgives
Score distribution:
1,555 movie reviews
    • 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.
    • 39 Metascore
    • 50 Michael Phillips
    The leads' chemistry in The Lucky One is more theoretical than actual. Still, the sunsets and sunrises and sunbeams through the windowpanes fall easily on the eyes.
    • 37 Metascore
    • 50 Michael Phillips
    Distressingly ordinary for such an extraordinary subject.
    • 58 Metascore
    • 50 Michael Phillips
    For many, this central performance will be more than enough. For others, the film will simply be too much.
    • 46 Metascore
    • 50 Michael Phillips
    The result is a placid tale of impulses running wild. Farino is a smooth operator, but he puts little on screen that feels like life, as opposed to a middle-of-the-road indie.
    • 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.
    • 65 Metascore
    • 50 Michael Phillips
    No better or worse than the average (and I mean average) time-filling sequel cranked out by other animation houses.
    • 79 Metascore
    • 50 Michael Phillips
    Feels constrained and rather dutiful, no matter how passionate these people are about what they're observing.
    • 55 Metascore
    • 50 Michael Phillips
    In Rendition Gyllenhaal is supposed to be the smartest one in the room, yet he’s essentially just a good-looking plodder. And despite its whirligig story machinations, so is Rendition.
    • 44 Metascore
    • 50 Michael Phillips
    All the astute acting in the world can’t bring such a preposterous story into the station on time and intact.
    • 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.
    • 32 Metascore
    • 50 Michael Phillips
    G.I. Joe may not be beefier, but it’s cheesier and less aggravating than "Transformers: Revenge of the Fallen," the summer ’09 headbanger it most resembles.
    • 57 Metascore
    • 50 Michael Phillips
    The relative success or failure of Adult Beginners, directed with a steady, nonjudgmental hand by Ross Katz, depends on how funny you find Kroll. I find him funny-ish.
    • 50 Metascore
    • 50 Michael Phillips
    Crowe's feature directorial debut, The Water Diviner, stems from an honest impulse to dramatize ordinary people who honor their dead. Yet the results are narratively dishonest and emotionally a little cheap.
    • 63 Metascore
    • 50 Michael Phillips
    It's a two-hour lesson in how to act like a frenemy to your alleged friends. And it's not funny enough.
    • 71 Metascore
    • 50 Michael Phillips
    What are they trying to accomplish and is this really the best way to accomplish it?
    • 35 Metascore
    • 50 Michael Phillips
    The best thing about this self-mocking affair, which runs a leisurely two-plus hours and affords plenty of time for an insane body count, is Antonio Banderas' manic gusto in the role of a gabby mercenary.
    • 45 Metascore
    • 50 Michael Phillips
    It is passable comic book stuff, dumb and loud. Loud. LOUD.
    • 70 Metascore
    • 50 Michael Phillips
    Why isn’t the film better? Guggenheim doesn’t seem to have prodded his subjects in any interesting directions.
    • 38 Metascore
    • 50 Michael Phillips
    The sequel is a disappointing step down, and backward.
    • 47 Metascore
    • 50 Michael Phillips
    It's not a lousy experience. Taylor Swift shows up in a glorified cameo. Thwaites has promise; Rush has more than that. But for a movie decrying the concept of societal "sameness," The Giver is a hypocritical movie indeed.
    • 59 Metascore
    • 50 Michael Phillips
    It's not as if Stone is above this sort of pulp. But as rejiggered for the movies, Savages has trouble making us care what happens to the beautiful people - the untouchables - at the center of the sun-baked fairy tale.
    • 51 Metascore
    • 50 Michael Phillips
    Savage Grace comes up bland and seems to go nowhere in particular.
    • 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.
    • 45 Metascore
    • 50 Michael Phillips
    Without a strong narrative engine, Upside Down ends up exactly where it shouldn't go: sideways.
    • 57 Metascore
    • 50 Michael Phillips
    Lasseter's sequel smooshes the vehicular ensemble of the first "Cars" into a nefarious James Bond universe, heavy on the missiles and ray guns and Gatling guns and electrocutions. Sound peculiar? It is peculiar.
    • 86 Metascore
    • 50 Michael Phillips
    But even with the great good efforts of Wallis, the results, to some of us, betray a distrustworthy slickness reminiscent of a British Petroleum oil spill clean-up commercial.
    • 56 Metascore
    • 50 Michael Phillips
    Ruthlessly skilled as Atkinson is, the Bean persona of generic, maniacally grinning ineptitude owes most of its appeal to seeing just how far an actor can pull a face without pulling a muscle.
    • 40 Metascore
    • 50 Michael Phillips
    With a less pedigreed international cast the whole thing would be a disaster, as opposed to a chilly new kind of disaster film.
    • 49 Metascore
    • 50 Michael Phillips
    We're snowed by a great deal of intersecting and crisscrossing information in The Fifth Estate, and Singer's script lacks organizational skills. I can relate. But that doesn't make parsing this busy film, or — crucially — its true, contradictory feelings about Assange any easier.

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