For 1,366 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
Average review score: 64
Highest review score: 100 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
1,366 movie reviews
    • 81 Metascore
    • 88 Michael Phillips
    While the protracted third act doesn't kill the two-hour, 23-minute picture, "Casino Royale" remains the best of the recent Bonds, with Skyfall just a notch below it.
    • 84 Metascore
    • 88 Michael Phillips
    Lavant is splendid in the film, and he's essentially the entire film - and yet, Holy Motors is somewhat more than a contraption built for a fearless performer.
    • 81 Metascore
    • 88 Michael Phillips
    Cooper's performance is his best yet. As is Lawrence's (the more crucial role, in fact).
    • 66 Metascore
    • 88 Michael Phillips
    Eighty-four minutes is about right for this style of animation. Even at that trim running time, the silhouette approach won't be for everyone. Ocelot's unity of vision, though, cannot be denied. Your kids, even the preteens, will likely fall headlong into his worlds.
    • 79 Metascore
    • 88 Michael Phillips
    An unusually good documentary about an outlandish miscarriage of justice.
    • 76 Metascore
    • 88 Michael Phillips
    It's also gorgeously acted by all, and while this may not be one of Kiarostami's finest, the craftsmanship nonetheless is so high, it makes everything else currently in theaters look slovenly.
    • 79 Metascore
    • 88 Michael Phillips
    Of all the movies culminating in a rite of exorcism, Romanian writer-director Cristian Mungiu's remarkable Beyond the Hills stands alone.
    • 81 Metascore
    • 88 Michael Phillips
    This is a true New York movie, though in its ear and eye for atmospheric beauty it feels more French.
    • 68 Metascore
    • 88 Michael Phillips
    It is a better, more fully felt and moving picture than "Blue Valentine."
    • 82 Metascore
    • 88 Michael Phillips
    Best of all: the musical score by Alfonso de Vilallonga. It's terrific — witty, symphonically lush and shrewdly informed by flamenco strains throughout.
    • 72 Metascore
    • 88 Michael Phillips
    The new film works. It's rousing.
    • 82 Metascore
    • 88 Michael Phillips
    You may watch Frances Ha relating to little of it, or a lot of it, but this "road movie with apartments," as the director (shooting here in velvety black-and-white, recalling Woody Allen's "Manhattan" in its texture) so aptly put it, is informed by a buoyant, resilient spirit.
    • 67 Metascore
    • 88 Michael Phillips
    Outrageous-plus, but often hilarious.
    • 78 Metascore
    • 88 Michael Phillips
    Finally! A romantic comedy that works. And not just because of Shakespeare.
    • 67 Metascore
    • 88 Michael Phillips
    The Wall is no endurance test; rather, it presents the facts of the case, adding an eerie low hum to the soundtrack whenever Gedeck's character edges near her outer limits.
    • 68 Metascore
    • 88 Michael Phillips
    The movie belongs to the women, for once, and The Conjuring doesn't exploit or mangle the female characters in the usual ways. Farmiga, playing a true believer, makes every spectral sighting and human response matter; Taylor is equally fine, and when she's playing a "hide-and-clap" blindfold game with her girls, she's like a kid herself, about to get the jolt of her life.
    • 73 Metascore
    • 88 Michael Phillips
    Here's a funny, poignant oddball of a movie, existing on a galaxy far, far away from the likes of "Pacific Rim" or "World War Z" or anything whose computer-generated actions speak louder than words.
    • 81 Metascore
    • 88 Michael Phillips
    The movie is madly, wonderfully at odds with itself.
    • 96 Metascore
    • 88 Michael Phillips
    It's a nerve-wracking visual experience of unusual and paradoxical delicacy. And if your stomach can take it, it's truly something to see.
    • 88 Metascore
    • 88 Michael Phillips
    Even with its limitations it's one of the necessary films of 2013.
    • 83 Metascore
    • 88 Michael Phillips
    Documentary filmmakers can make any number of rookie mistakes with their first features. Casting too wide a net is one of the most common. "La Camioneta" avoids that pothole, beautifully.
    • 92 Metascore
    • 88 Michael Phillips
    Folk standards such "500 Miles," "The Death of Queen Anne" and "Dink's Song" infuse the movie, and as in the Coens' "O Brother, Where Art Thou?" T Bone Burnett has done first-rate work supervising the musical landscape. The film, I think, falls just a tick or two below the Coens' best work, which for me lies inside "A Serious Man" and "Fargo."
    • 85 Metascore
    • 88 Michael Phillips
    The miracle is that even with a bit of dramaturgical clunkiness The Past is fluid, intimate cinema. Few directors today can shoot in such tightly confined spaces, with such a determined control over his actors' movements, and make the drama work so well.
    • 89 Metascore
    • 88 Michael Phillips
    This is a big-hearted, absorbing documentary about a writer who kept on writing until very near the end. Anyone who cared about Roger Ebert will find it necessary viewing.
    • 72 Metascore
    • 88 Michael Phillips
    You wait for months, sometimes, for a movie to show you something new. "7 Boxes" does exactly that, and while it's no more than a briskly managed bit of escapism, it's a really good example of same.
    • 83 Metascore
    • 88 Michael Phillips
    It makes the dream of flight itself a vehicle for bittersweet enchantment.
    • 75 Metascore
    • 88 Michael Phillips
    An impressive, often enraging feature-length debut from director Robert May, deals carefully and well with the so-called kids for cash scandal.
    • 80 Metascore
    • 88 Michael Phillips
    To millions, Stritch is the Emmy-winning actress who did "30 Rock," playing Alec Baldwin's mom. Those people who don't know the rest of her story should take the 82 minutes to see this.
    • 88 Metascore
    • 88 Michael Phillips
    One of Anderson's cleverest and most gorgeous movies, dipping just enough of a toe in the real world — and in the melancholy works of its acknowledged inspiration, the late Austrian writer Stefan Zweig — to prevent the whole thing from floating off into the ether of minor whimsy.
    • 78 Metascore
    • 88 Michael Phillips
    Had this ambitious head trip come to pass, it might've made Kubrick's "2001: A Space Odyssey" look like "Go, Dog. Go!"