Michael Phillips

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For 1,635 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: 65
Highest review score: 100 Letters from Iwo Jima
Lowest review score: 0 What Goes Up
Score distribution:
1635 movie reviews
    • 57 Metascore
    • 50 Michael Phillips
    Although Joffe appears to be making a Brighton version of the seductively natty evil we find stateside in "Boardwalk Empire," this Brighton Rock remains muffled, half-formed pulp fiction.
    • 54 Metascore
    • 50 Michael Phillips
    The film has a persistent and careful sheen. It looks good. It is, in fact, preoccupied with looking good. If this sounds like faint praise, I'm afraid it is.
    • 44 Metascore
    • 50 Michael Phillips
    Funny Games is fundamentally a bourgeois exercise in authorial sadism. As the methodical games grind on, the suffocatingly beige and white surroundings start to look like a mausoleum.
    • 75 Metascore
    • 50 Michael Phillips
    The movie's benumbed by its own parade of bad behavior. Like some of Scorsese's other second-tier works — "Casino," "Bringing Out the Dead" — the gulf between virtuoso technical facility and impoverished material cannot be bridged. It's diverting, sort of, to see DiCaprio doing lines off a stripper's posterior, but after the 90th time it's like, enough already with heinous capitalistic extremes.
    • 49 Metascore
    • 50 Michael Phillips
    Now and then the movie rouses itself to deliver. If you go to American Reunion - and many will, if they harbor fond memories of the first one, and if they can find a sitter - you should stay through the end credits.
    • 51 Metascore
    • 50 Michael Phillips
    Robert Benton’s recent films have been vexing combinations of gentility and stiffness, and despite a fair bit of nudity "Feast of Love" behaves itself all too well. It’s as neat as a pin; it ties up every loose end in careful "Playhouse 90" style. Despite some awfully smart actors, Benton’s movie made me long for a few interrupted sentences and the occasionally conflicted character.
    • 36 Metascore
    • 50 Michael Phillips
    I found the mythology of I Am Number Four vague and sloppy.
    • 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.
    • 68 Metascore
    • 50 Michael Phillips
    The Hateful Eight is an ultrawide bore.
    • 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.

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