Michael Phillips

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For 1,750 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 3.5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Snow Angels
Lowest review score: 0 Chappie
Score distribution:
1750 movie reviews
    • 85 Metascore
    • 88 Michael Phillips
    The film is not for the frantic of spirit. Its steady rhythm and even-handed tone threaten occasionally to stultify. But little things mean a lot in this universe, as they should.
    • 86 Metascore
    • 88 Michael Phillips
    The grace, elegance, carefully muted color palette and gradual acknowledgment of life's milestones lift The Red Turtle far above the average so-called "family-friendly" animation.
    • 73 Metascore
    • 88 Michael Phillips
    A real charmer, Me and Orson Welles is the work of a director who takes nostalgia, romantic possibility and the theater seriously, without being a pill about it.
    • 82 Metascore
    • 88 Michael Phillips
    It all flows from the shum. The man's musical and political influence was no illusion.
    • 72 Metascore
    • 88 Michael Phillips
    I've seen the fabulously acted Italian thriller The Double Hour twice now, and for all its intricate manipulations, it stays with me for a very simple reason: The love story at its bittersweet heart is played for keeps.
    • 85 Metascore
    • 88 Michael Phillips
    This is the most satisfying thriller of the year, capping the Bourne trilogy.
    • 89 Metascore
    • 88 Michael Phillips
    A rich and troubling documentary highlight of the year.
    • 77 Metascore
    • 88 Michael Phillips
    Both the man and his times resist a compact 93 minutes. This much anguished history, and Aleichem's inspired literary response to that history, has difficulties being confined to conventional documentary feature length. Yet Dorman's touch is sure, his pacing fleet and his chorus of voices marvelous.
    • 82 Metascore
    • 88 Michael Phillips
    An exorcism movie for the rest of us, the gripping German drama Requiem contains not a single special effect. It doesn't need one. It has terrific actors fully invested in a casual-seeming, docudramatic brand of storytelling, notably Sandra Hueller.
    • 85 Metascore
    • 88 Michael Phillips
    The film is unusually free of cant and the usual trappings of war docs. There is no voice-over narration and very little dramatic underscoring. Right or wrong, the filmmakers shave matters of political policy and contextual analysis clean off the finished product, which runs a tight 94 minutes.
    • 72 Metascore
    • 88 Michael Phillips
    Parts of Sunset Song rank with Davies' very best work.
    • 78 Metascore
    • 88 Michael Phillips
    After the Wedding defies the odds: For once, the bigger the emotion, the truer the moviegoing experience.
    • 77 Metascore
    • 88 Michael Phillips
    We meet a variety of interdependent characters, from tuna vendors to rice experts, all in thrall to Jiro and his sons. I really wish Tokyo were closer.
    • 83 Metascore
    • 88 Michael Phillips
    Project Nim is practically irresistible. The story keeps getting odder and richer and more complicated.
    • 71 Metascore
    • 88 Michael Phillips
    It is a fine and plaintive experience, more modern-day folklore than ethnographic study, and a wonderfully assured piece of cinema.
    • 77 Metascore
    • 88 Michael Phillips
    Polanski turns a conventional conspiracy thriller into a triumph of tone, ensemble playing and atmospheric menace.
    • 78 Metascore
    • 88 Michael Phillips
    Finally! A romantic comedy that works. And not just because of Shakespeare.
    • 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.
    • 86 Metascore
    • 88 Michael Phillips
    Deliver Us From Evil has a few things wrong with it, including an egregious musical score, but without resorting to sucker punches, it takes your breath away while making your skin crawl.
    • 76 Metascore
    • 88 Michael Phillips
    The movie putters near the end, but it's a film lover's delight.
    • 82 Metascore
    • 88 Michael Phillips
    Everything within the film connects to neighboring elements, performance to performance to cryptic absurdity (the opening is one of the strangest of the year) to surprisingly heartfelt acknowledgment of the power of love. Whether things work out or not.
    • 83 Metascore
    • 88 Michael Phillips
    Weirdly touching documentary.
    • 83 Metascore
    • 88 Michael Phillips
    For me, it's a sign that a filmmaker is on to something if you love hanging out with the characters as they eat and drink and talk and reveal little bits of themselves through everyday action.
    • 82 Metascore
    • 88 Michael Phillips
    Half the film, written by Coogler and Aaron Covington, revels in cliches, skillfully. The other half sidesteps them and concentrates on scenes and relationships that breathe easily and draw us in the hard way: not by narrative fiat or bald calculation, but through well-written and shrewdly acted encounters.
    • 67 Metascore
    • 88 Michael Phillips
    It's worth seeing just for the banter between Segel and Hader, which recalls the peak conversational riffs from "Knocked Up."
    • 87 Metascore
    • 88 Michael Phillips
    Whit Stillman's Love & Friendship is compact, modestly budgeted, sublimely acted and almost completely terrific.
    • 88 Metascore
    • 88 Michael Phillips
    The actors, predictably, are superb in roles shaped by screenwriter David Seidler, and directed by Tom Hooper. Yet they are unpredictably superb as well.
    • 62 Metascore
    • 88 Michael Phillips
    The director thinks visually, which sounds redundant until you realize how many monster movies are flat, effects-dependent factory jobs. Edwards knows how to use great heights for great effect.
    • 86 Metascore
    • 88 Michael Phillips
    Any film with Jennifer Ehle, perfect as the tightly wound but loving therapist, tends to be worth seeing in the first place.
    • 76 Metascore
    • 88 Michael Phillips
    The wonderful thing about Fassbender and Mortensen? Several things, actually. They're effortlessly convincing in period, and they know how to make recessive characters intriguing.

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