Michael Phillips

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For 1,826 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 2.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Her
Lowest review score: 0 Vacation
Score distribution:
1826 movie reviews
    • 91 Metascore
    • 100 Michael Phillips
    It is personal filmmaking of the highest order, recognized with an Academy Award nomination for best foreign film.
    • 88 Metascore
    • 100 Michael Phillips
    Whiplash is true to its title. It throws you around with impunity, yet Chazelle exerts tight, exacting control over his increasingly feverish and often weirdly comic melodrama.
    • 81 Metascore
    • 100 Michael Phillips
    The first great film of the year. It’s beautiful but so much more—full of subtle feeling, framed by a monstrous, eroding landscape.
    • 85 Metascore
    • 100 Michael Phillips
    It all comes together as formidably detailed and easy-breathing craftsmanship.
    • 85 Metascore
    • 100 Michael Phillips
    It's an uncompromising drama, not easy to watch. And it is one of the year's highlights.
    • 75 Metascore
    • 100 Michael Phillips
    It takes something like a miracle to unlock the magic in his exquisite aggravations, the essence of the human comedy. This film is indeed something like a miracle.
    • 84 Metascore
    • 100 Michael Phillips
    Some may find the film underpowered. Not me. With elegant understatement, Cohen creates a humane testament to reaching out, whatever our habits and routines.
    • 86 Metascore
    • 100 Michael Phillips
    The Master is brilliantly, wholly itself for a little more than half of its 137 minutes. Then it chases its own tail a bit and settles for being merely a fascinating metaphoric father-son relationship reaching endgame. It may not all "work," but most of it's remarkable.
    • 79 Metascore
    • 100 Michael Phillips
    Even with its limitations, I find Silent Light spellbinding.
    • 93 Metascore
    • 100 Michael Phillips
    Stone is spectacular, and she's reason enough to see La La Land. Chazelle is a born filmmaker, and he doesn't settle for rehashing familiar bits from musicals we already love. He's too busy giving us reasons to fall for this one.
    • 86 Metascore
    • 100 Michael Phillips
    It is enraging yet nuanced, an elusive combination for any documentary.
    • 85 Metascore
    • 100 Michael Phillips
    The Sun sheds only so much literal light on its chosen subject; it's a film of shadows and silence, the calm before and after the storm. But everything you see and hear carries weight and an eerie poetic undercurrent.
    • 67 Metascore
    • 100 Michael Phillips
    Green is a rare bird in American filmmaking: a humanist who knows how to tell a story.
    • 96 Metascore
    • 100 Michael Phillips
    The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful.
    • 76 Metascore
    • 100 Michael Phillips
    A sweet, sharp coming-of-age romance, Adventureland is a little warmer, a little funnier and a lot more truthful than the last 20 or 30 of its ilk. Especially its Hollywood ilk.
    • 71 Metascore
    • 100 Michael Phillips
    Not since Robert Altman took on “Popeye” a generation ago, and lost, has a major director addressed such a well-loved, all-ages title. This time everything works, from tip to tail.
    • 95 Metascore
    • 100 Michael Phillips
    The key American film of 2012 ... Its stance is extremely tricky. It's not a documentary. It's not a load of revenge nonsense. It's not '24.' I'm still arguing with myself over parts of it. And that's a sign that a movie will endure.
    • 83 Metascore
    • 100 Michael Phillips
    Finally! A comedy that works.
    • 93 Metascore
    • 100 Michael Phillips
    Director and co-writer Tom McCarthy played a weasel of a journalist in "The Wire." Now he has made a meticulous, exacting procedural on real-life journalists who excelled at their job; had the resources to do it properly; and in early 2002, published the first in a Pulitzer Prize-winning series of grim, carefully detailed stories of pedophile priests.
    • 92 Metascore
    • 100 Michael Phillips
    It is wonderful: a rhapsodic adaptation of a memoir, a visual marvel that wraps its subject in screen romanticism without romanticizing his affliction. It left me feeling euphoric.
    • 80 Metascore
    • 100 Michael Phillips
    Incendies is no mere riff on a Greek mainstay. It is its own entity, delicate and fierce. Already I've risked making it sound like homework. It's not; it's an enthralling drama of survival.
    • 72 Metascore
    • 100 Michael Phillips
    The beauty of the Turkish film Climates, a small but indelible masterpiece, is more than skin-deep. No 2006 film meant more to me. It's as sharp and lovely as the best Chekhov short stories.
    • 89 Metascore
    • 100 Michael Phillips
    The film itself is perfectly poised between artistry and audacity. It's beautiful.
    • 100 Metascore
    • 100 Michael Phillips
    In completing this simple, beautiful project Linklater took his time. And he rewards ours.
    • 73 Metascore
    • 100 Michael Phillips
    Arnold reminds us that the best thrillers don't settle for taking the audience away from their everyday experience; rather, they burrow inward and, by sheer power of cinematic observation, make it hard for us to look away lest we miss something--on a screen or off.
    • 83 Metascore
    • 100 Michael Phillips
    Yes, for every star there are five more also-rans and maybe-next-times. But there is honor and glory in being part of the blend. And, at the film's midpoint, when Clayton talks about the late-night recording session in 1969 of "Gimme Shelter," the memory takes on the glow of myth.
    • 88 Metascore
    • 100 Michael Phillips
    It's a very small piece, working in a deceptively casual storytelling style. But it's my favorite music film since "Stop Making Sense," and it's more emotionally satisfying than any of the Broadway-to-Hollywood adaptations made in the last 20 years.
    • 90 Metascore
    • 100 Michael Phillips
    Her
    A delicate, droll masterwork, writer-director Spike Jonze's Her sticks its neck out, all the way out, asserting that what the world needs now and evermore is love, sweet love. Preferably between humans, but you can't have everything all the time.
    • 91 Metascore
    • 100 Michael Phillips
    Ida
    One of the year's gems.
    • 95 Metascore
    • 100 Michael Phillips
    This excellent film works the way Blanchett's characterization of Carol works: It's meticulous about appearances, while fully aware that appearances can deceive.

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