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 Gatekeepers
Lowest review score: 0 Bratz
Score distribution:
1,571 movie reviews
    • 46 Metascore
    • 50 Michael Phillips
    You couldn't accuse the film of practicing what it preaches: careful stewardship of a precious resource.
    • 51 Metascore
    • 50 Michael Phillips
    John Carter isn't much - or rather, it's too much and not enough in weird, clumpy combinations - but it is a curious sort of blur.
    • 55 Metascore
    • 50 Michael Phillips
    A smooth but frustrating third feature with an extremely good ensemble cast.
    • 52 Metascore
    • 50 Michael Phillips
    More than anything Casa de mi Padre is an exercise - and to those who find it more clever than I do, a valid one - in tone-funny, as opposed to joke-funny.
    • 48 Metascore
    • 50 Michael Phillips
    This one's just OK, but at midnight, after who knows what, OK might be enough.
    • 46 Metascore
    • 50 Michael Phillips
    Settles for being simple, familiar and ineffective, though I suspect it'll warm a few hearts.
    • 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.
    • 56 Metascore
    • 50 Michael Phillips
    Absurdly brutal slapstick is a tough thing to sustain across a feature. I spent a lot of The Three Stooges staring, not laughing. For me this was a stare-out-loud affair.
    • 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.
    • 44 Metascore
    • 50 Michael Phillips
    The Raven squanders a promising scenario while half-burying Cusack's mercurial skills as a leading man with the wiles of a character actor.
    • 55 Metascore
    • 50 Michael Phillips
    Dark Shadows illustrates the fine line in a pop reboot between "relaxed" and "lazy."
    • 53 Metascore
    • 50 Michael Phillips
    The movie lacks wit.
    • 45 Metascore
    • 50 Michael Phillips
    Keener alone finds the truth between the lines of this routine affair. She can't do much about the lines she has to say out loud, but as all first-rate screen performers realize, words are only part of the story.
    • 47 Metascore
    • 50 Michael Phillips
    The movie, full of talented performers in search of a more propulsive vehicle, settles for workmanlike cover-band status, which makes this a cover-band tribute to a jukebox musical - a long way from true, trashy exhilaration.
    • 42 Metascore
    • 50 Michael Phillips
    It sounds fun. It's a little fun. For a while. But Bekmanbetov shoots every killing spree like an addled gamer, working that slow-down-speed-up kill-shot cliche like a maniac.
    • 59 Metascore
    • 50 Michael Phillips
    What it doesn't have is a way of making sense of its comic and dramatic strains, together, in the same movie.
    • 49 Metascore
    • 50 Michael Phillips
    A fine and moving film could be made from this story, which was inspired, loosely, by events and situations in the lives of Kurtzman and Orci. But the script sets an awfully low bar for Sam's redemption.
    • 54 Metascore
    • 50 Michael Phillips
    The movie strolls through its paces, sometimes amusingly, though by the end you've heard "Volare" and "Arrivederci Roma" reprised often enough to make you wish "Volare" and "Arrivederci Roma" had never been written.
    • 62 Metascore
    • 50 Michael Phillips
    Ted
    You can find this clever, or you can find it lazy, and this is why MacFarlane is the biggest mixed blessing in contemporary TV comedy: He is both.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Michael Phillips
    It's not very funny, but your kids might like it.
    • 36 Metascore
    • 50 Michael Phillips
    It sticks in the craw. The whole movie does.
    • 61 Metascore
    • 50 Michael Phillips
    "The Bourne Identity." "The Bourne Supremacy." "The Bourne Ultimatum." And now, "The Pointless, Confused and Then, For the Last Half-Hour, Exciting Bourne Sequel, After a Fashion," more commonly known as The Bourne Legacy.
    • 45 Metascore
    • 50 Michael Phillips
    To say The Paperboy doesn't work is one thing; to say it's dull is a lie. This movie is berserk, which is more interesting than "eh."
    • 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.
    • 30 Metascore
    • 50 Michael Phillips
    The sharpest five minutes in Alex Cross, by a considerable margin, belong to Giancarlo Esposito.
    • 31 Metascore
    • 50 Michael Phillips
    Many of the original film's booby-trap scenarios are repeated here, but without Milius' grandiosity and nihilism. There's less of both in the new Red Dawn. It's not a disaster. It's just drab.
    • 81 Metascore
    • 50 Michael Phillips
    By the two-hour mark the fun had oozed out of the movie for me. It's long. Or feels it.
    • 55 Metascore
    • 50 Michael Phillips
    More an argument than a fully fleshed-out drama ... The script is unconvincing; two key narrative twists, one related to the other, are deeply hokey.

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