Michael Phillips

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For 1,742 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 3.4 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 45 Years
Lowest review score: 0 Sucker Punch
Score distribution:
1742 movie reviews
    • 96 Metascore
    • 100 Michael Phillips
    While this is very much a McQueen picture, with visual flourishes and motifs unmistakably his, the historical urgency and staggering injustice of the events keep McQueen and company utterly honest in their approach and in their collective act of imagining Solomon Northup's odyssey to hell and back.
    • 74 Metascore
    • 100 Michael Phillips
    It is a wonder, marked by a sense of wondrous skepticism that has nothing to do with cynicism.
    • 78 Metascore
    • 100 Michael Phillips
    This is a superb picture, sharp, open-minded, wised-up and cinematically accomplished.
    • 85 Metascore
    • 100 Michael Phillips
    This is one of the finest achievements of the year, and while it's easy to lose your way in the labyrinth, I don't think Tinker, Tailor, Soldier, Spy is most interesting for its narrative pretzels. Rather, it's about what this sort of life does to the average human soul.
    • 87 Metascore
    • 100 Michael Phillips
    The naked emotions, when they finally break loose, carry serious weight, akin to a John Cassavetes psychodrama.
    • 99 Metascore
    • 100 Michael Phillips
    The reason it's distinctive has less to do with raw emotion, or a relentless assault on your tear ducts, and more to do with the film medium's secret weapons: restraint, quiet honesty, fluid imagery and an observant, uncompromised way of imagining one outsider's world so that it becomes our own.
    • 94 Metascore
    • 100 Michael Phillips
    Burnett's documentarian empathy, coupled with his easygoing skill as a dramatic essayist, result in a film that doesn't look, feel or breathe like any American work of its generation.
    • 83 Metascore
    • 100 Michael Phillips
    In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making.
    • 83 Metascore
    • 100 Michael Phillips
    Trouble the Water is so much better and truer and deeper and more illuminating than either of them ("Bowling for Columbine"/"Fahrenheit 9/11").
    • 94 Metascore
    • 100 Michael Phillips
    Small, sure and stunningly acted, this is a picture of exacting control.
    • 86 Metascore
    • 100 Michael Phillips
    The cave exists to provoke awe in mere mortals. The camera pauses at one point to take in a stalagmite reaching up to touch, nearly, a stalactite and the inevitable association is with Michelangelo's Adam and the hand of God.
    • 87 Metascore
    • 100 Michael Phillips
    Moneyball is the perfect sports movie for these cash-strapped times of efficiency maximization.
    • 86 Metascore
    • 100 Michael Phillips
    It blends cinematic Americana with something grubbier and more interesting than Americana, and it does not look, act or behave like the usual perception of a Spielberg epic. It is smaller and quieter than that.
    • 87 Metascore
    • 100 Michael Phillips
    The characters in Gomorrah may lack an extra dramatic dimension: Garrone errs, if anything, on the side of detachment. Yet that detachment is also the key to the film's success. There's so little hooey and melodramatic head-banging here.
    • 80 Metascore
    • 100 Michael Phillips
    It's the best musical biopic in decades.
    • 71 Metascore
    • 100 Michael Phillips
    The self-taught man behind the griddle, his wife, Eve, and their five seen-it-all kids emerge as the ensemble of the year.
    • 75 Metascore
    • 100 Michael Phillips
    Heaven Knows What, will not appeal to the majority of casual moviegoers. Likewise, I have no doubts regarding the film's remarkable achievement.
    • 89 Metascore
    • 100 Michael Phillips
    May be the best and saddest film of the year so far.
    • 83 Metascore
    • 100 Michael Phillips
    Writer-director Robert Eggers' "New England folk tale" film isn't likely to go bonkers in the popular culture the way "Blair Witch" did. But it's an infinitely richer, more meticulous, more elegant and more unnerving horror film — the best since "The Babadook," and very likely a 21st century classic in its hardy yet malleable genre.
    • 76 Metascore
    • 100 Michael Phillips
    Extraordinary.
    • 82 Metascore
    • 100 Michael Phillips
    The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.
    • 84 Metascore
    • 100 Michael Phillips
    It works from a specific place and lets audiences relate to that place, and the people in it, like trusted intimates.
    • 82 Metascore
    • 100 Michael Phillips
    This is one of the real finds of 2008.
    • 86 Metascore
    • 100 Michael Phillips
    A gem made by a filmmaker who loves life, and knows how to capture its ebb and flow and sweet complication.
    • 81 Metascore
    • 100 Michael Phillips
    No
    No succeeds, wonderfully, because it knows how to sell itself. It is cool, witty, technically dazzling in a low-key and convincing way.
    • 92 Metascore
    • 100 Michael Phillips
    Day-Lewis... the role of a lifetime.
    • 79 Metascore
    • 100 Michael Phillips
    A kinetic delight, Reprise comes from director Joachim Trier, born in Denmark but raised in Oslo, Norway, and it’s a highlight of the filmgoing year so far.
    • 86 Metascore
    • 100 Michael Phillips
    "All right" doesn't begin to describe it. The Kids Are All Right is wonderful. Here is a film that respects and enjoys all of its characters, the give-and-take and recklessness and wisdom of any functioning family unit, conventional or un-.
    • 91 Metascore
    • 100 Michael Phillips
    This is a great and necessary document in support of a two-state solution. Even those who don't believe in such a solution may find their minds changed by The Gatekeepers.
    • 89 Metascore
    • 100 Michael Phillips
    The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career.

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