Michael Phillips

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For 1,775 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 3.1 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
Lowest review score: 0 I'm Still Here
Score distribution:
1775 movie reviews
    • 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.
    • 80 Metascore
    • 100 Michael Phillips
    Extremely moving, exceedingly droll, flawlessly voice-acted.
    • 96 Metascore
    • 100 Michael Phillips
    Its sense of humor is more sly, more sophisticated and more interesting than most PG-13 or R-rated comedies at the moment. The film may be animated, and largely taken up with rats, but its pulse is gratifyingly human.
    • 89 Metascore
    • 100 Michael Phillips
    This is a small, tight, starkly claustrophobic film, closer in impact to Elie Wiesel's first-person account of the concentration camps, "Night," than to the artful, slightly suspect emotional catharsis of director Steven Spielberg's "Schindler's List."
    • 82 Metascore
    • 100 Michael Phillips
    This one slice of the American experience amounts to one of the best films of the year.
    • 88 Metascore
    • 100 Michael Phillips
    It's Chekhovian screwball, a perfect little tale of love (or thereabouts) in bloom among the weeds of an ordinary life. It feels like a classic already.
    • 88 Metascore
    • 100 Michael Phillips
    I love it, not simply because I love Chekhov or because I've loved so much of Ceylan's earlier work. I love it because the director, having come into his own as a master international filmmaker years ago, gives us so much to see and think about, so many astringent observations about life's compromises and longings.
    • 94 Metascore
    • 100 Michael Phillips
    While I may argue with the little guy's taste in musicals, it's remarkable to see any film, in any genre, blend honest sentiment with genuine wit and a visual landscape unlike any other.
    • 95 Metascore
    • 100 Michael Phillips
    The film is a singular achievement, a piece of realist cinema with the pull of a suspense thriller.
    • 80 Metascore
    • 100 Michael Phillips
    An indelible portrait of an American family at its most blithely macabre.
    • 82 Metascore
    • 100 Michael Phillips
    Sensational, grandly sinister and not for the kids, The Dark Knight elevates pulp to a very high level.
    • 89 Metascore
    • 100 Michael Phillips
    Borat is a rarity: a comedy whose middle name is danger, or as the Kazakhs say, kauwip-kater.
    • 91 Metascore
    • 100 Michael Phillips
    From its initial first-person, behind-the-wheel viewpoint to its final implication of all-pervasive surveillance, Panahi creates a fascinating hybrid that becomes a microcosm of Tehran.
    • 84 Metascore
    • 88 Michael Phillips
    Much of the action takes place in the couple's haphazard apartment, but the movie really does feel like a movie, with Farhadi's camera unobtrusively energizing the close-quarters exchanges, both verbal and non-verbal. The acting is splendid.
    • 79 Metascore
    • 88 Michael Phillips
    An off-center but exceptional boxing film I prefer in every aspect, especially one: It feels like it comes from real life as well as the movies.
    • 82 Metascore
    • 88 Michael Phillips
    Haneke’s vision is gripping. The craftsmanship, classically shaped narrative and icy visual beauty cannot be denied.
    • 82 Metascore
    • 88 Michael Phillips
    It's a lot. But if you're at all inclined, it's just right.
    • 55 Metascore
    • 88 Michael Phillips
    Young Goethe in Love wants only to engage an audience with a capital-R Romantic ideal of Goethe's first love. It does so very well. And it was well worth the effort.
    • 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.
    • 79 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!"
    • 71 Metascore
    • 88 Michael Phillips
    Chabrol's final picture was designed with Depardieu in mind. It's a small work. Yet it's so pleasurably well-made, so obviously the work of major talents in a comfortable groove, why carp about the scale or ambition of the project?
    • 70 Metascore
    • 88 Michael Phillips
    A breezy diary from a pair of first-time farmers, as well as a wry rebuke to a nation devoted to eating cheaply but not necessarily well, King Corn makes its points without much finger-wagging.
    • 74 Metascore
    • 88 Michael Phillips
    The movie is a small marvel of contained spaces, exploited beautifully by Kusama and cinematographer Bobby Shore.
    • 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.
    • 89 Metascore
    • 88 Michael Phillips
    The acting's so true, and Bahrani's so observant, you find yourself caring about everyone onscreen.
    • 67 Metascore
    • 88 Michael Phillips
    It's a strange, fascinating exercise in what Joel Coen once described as "tone management," job No. 1 for any director.
    • 86 Metascore
    • 88 Michael Phillips
    From a terrible epidemic comes a beautiful documentary.
    • 82 Metascore
    • 88 Michael Phillips
    Does Kaurismaki believe in his own fairy tale? The movie, a humble delight, suggests the answer is yes.
    • 83 Metascore
    • 88 Michael Phillips
    Small but sure, the film is like Alejandro himself: quick on its feet, attuned to a harsh life’s hardships and possibilities.

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