Michael Phillips
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For 1,530 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 The Prisoner or: How I Planned to Kill Tony Blair
Lowest review score: 0 Bratz
Score distribution:
1,530 movie reviews
    • 84 Metascore
    • 88 Michael Phillips
    First-time Anderson performers such as Willis, McDormand and especially Norton fold effortlessly into the melancholy end-of-summer vibe.
    • 72 Metascore
    • 88 Michael Phillips
    One of the pleasures of Magic Mike is its egalitarian spirit and dedication to the ensemble.
    • 70 Metascore
    • 88 Michael Phillips
    The documentary carrying the same name as Schiele's painting works like a suspense drama and a slippery chronicle of ownership, theft and vaguely unsettling resolution.
    • 79 Metascore
    • 88 Michael Phillips
    At 85 minutes, it's a tight, sharp achievement, yet one of the things I love about it is simple: It moves to a relaxed rhythm, in sync with its slightly otherworldly subject.
    • 66 Metascore
    • 88 Michael Phillips
    Premium Rush is great fun - nimble, quick, the thinking person's mindless entertainment.
    • 68 Metascore
    • 88 Michael Phillips
    The oddly beautiful documentary made by Heidi Ewing and Rachel Gray is subtler and richer than its blunt title suggests.
    • 86 Metascore
    • 88 Michael Phillips
    From a terrible epidemic comes a beautiful documentary.
    • 86 Metascore
    • 88 Michael Phillips
    In the populist vein of Ron Howard's "Apollo 13," Affleck's rouser salutes the Americans (and, more offhandedly, the Canadians) who restored our sense of can-do spirit when we needed it.
    • 79 Metascore
    • 88 Michael Phillips
    John Hawkes is wonderful as O'Brien, as is Helen Hunt as the surrogate whose sessions with O'Brien form the crux of the film. The results are extremely moving and, in general, low on egregiously yanked heartstrings or the usual biopic filler.
    • 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.
    • 82 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.

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