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 3.2 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Once
Lowest review score: 0 Bratz
Score distribution:
1775 movie reviews
    • 35 Metascore
    • 38 Michael Phillips
    Fox's cleavage is the only camera object that catches Bay's attention for more than a millisecond.
    • 75 Metascore
    • 38 Michael Phillips
    It is, for what it is, a work of considerable care and craft. And it's completely soulless.
    • 70 Metascore
    • 38 Michael Phillips
    I find Lars and the Real Girl adorable in the worst way, bailed out only by most every member of its excellent cast.
    • 67 Metascore
    • 38 Michael Phillips
    It's a seriously withholding action comedy, stingy on the wit, charm, jokes, narrative satisfactions and animals with personalities sharp enough for the big screen, either in 2-D or 3-D.
    • 66 Metascore
    • 38 Michael Phillips
    It may well be a hit, but me, I'm waiting for "Iron Man 2."
    • 65 Metascore
    • 38 Michael Phillips
    Hanna presents the problem of the well-made diversion that is, at its core, repellent.
    • 64 Metascore
    • 38 Michael Phillips
    Maybe this review is more about me than about Conan O'Brien, but I really couldn't get past the odor of self-congratulation emanating from nearly every scene in Conan O'Brien Can't Stop.
    • 64 Metascore
    • 38 Michael Phillips
    It wanders and putters and follows its main characters around.
    • 63 Metascore
    • 38 Michael Phillips
    The camera bobs and weaves like a drunk, frantically. So you have hammering close-ups, combined with woozy insecurity each time more than two people are in the frame. Twenty minutes into the retelling of fugitive Valjean, his monomaniacal pursuer Javert, the torch singers Fantine and Eponine and the rest, I wanted somebody to just nail the damn camera to the ground.
    • 63 Metascore
    • 38 Michael Phillips
    Staggers and wanders and feels far longer than its 85 minutes, and it's best considered a calling card for better things to come.
    • 62 Metascore
    • 38 Michael Phillips
    It's passable.
    • 62 Metascore
    • 38 Michael Phillips
    The line between cool and cold is a thin one, however. Cool isn't the word for "Thirteen"; it's just smug.
    • 62 Metascore
    • 38 Michael Phillips
    For me, the mechanics or even the (excellent) designs are not enough. Jeunet's archness keeps conventional empathy or engagement at bay, and by design maintains a tone of artificiality.
    • 20 Metascore
    • 25 Michael Phillips
    This one's a certifiable soul-sucker, dining out on its characters' venalities while wagging a finger at the horror, the horror.
    • 61 Metascore
    • 38 Michael Phillips
    The first "H&K" caught people off-guard with its canny idiocy and zigzagging, picaresque treasure hunt premise. By now, there's no catching anyone off-guard with these two, except by way of the most off-color and off-putting means possible.
    • 59 Metascore
    • 38 Michael Phillips
    Calling Dredd 3D a movie is sort of a lie. It's a premise, and there are levels to reach, and always there's another grimy hallway to stalk, and then you turn right or left, and then kill some more.
    • 19 Metascore
    • 25 Michael Phillips
    None of it is funny. It’s all pain and no funny.
    • 58 Metascore
    • 38 Michael Phillips
    Compared to so many varied and skillful female-driven hits such as "Bridesmaids," or this summer's "Trainwreck" and "Spy," Sisters isn't worth talking about.
    • 58 Metascore
    • 38 Michael Phillips
    Easy Virtue may be a bauble, as Larita's described at one point, but Coward's examination of hypocrisy demands real skill. The style should suggest "whipped cream with knives," as Stephen Sondheim once described "A Little Night Music." Elliott's film is more like curdled milk with a spork.
    • 58 Metascore
    • 38 Michael Phillips
    Silly, sadistic and finally a little galling, Kingsman: The Secret Service answers the question: What would Colin Firth have been like if he'd played James Bond?
    • 57 Metascore
    • 25 Michael Phillips
    The exhausting slapstick violence is the film's chief variation, and it's no fun at all.
    • 57 Metascore
    • 38 Michael Phillips
    The movie coasts on a blase, easygoing highway of cynicism regarding how America conducts its business of war. Despite all the Martifications and Scorsese-ing, we're left with virtually nothing, except the feeling that a pretty good anecdote has been inflated into a bubble-headed American Dream morality tale.
    • 57 Metascore
    • 38 Michael Phillips
    It's a serious drag to see how Ritchie has turned Holmes and Dr. Watson into a couple of garden-variety thugs.
    • 56 Metascore
    • 38 Michael Phillips
    It's reductive, insanely violent slapstick, but that's the phenomenon in a nutshell.
    • 56 Metascore
    • 38 Michael Phillips
    The appeal of the film version, such as it is, relates almost entirely to eye-for-an-eye, severed-limb-for-a-limb vengeance, two hours and 41 minutes of it, with just enough solemnity to make anyone who thought "The Dark Knight" was a little gassy think twice about which superhero myth THEY'RE calling gassy.
    • 56 Metascore
    • 38 Michael Phillips
    A remake for schlemiels, or at least easy marks when it comes to formulaic Hollywood comedy. But the film's peculiar sluggishness and nagging hypocrisy probably won't get in the way of its popularity.
    • 56 Metascore
    • 38 Michael Phillips
    It's tough to get on board with these monsters. They don't get the banter they--or we--deserve, and the screenwriters lean on wearying stereotypes.
    • 55 Metascore
    • 38 Michael Phillips
    The tragedy is that the performance comes to nothing. Nearly everything else in the film is vile.
    • 54 Metascore
    • 38 Michael Phillips
    Here and there, in the father/son scenes, you see a glimmer of an honest interaction. All in all, I'd rather watch a "Ned's Declassified School Survival Guide" rerun.
    • 53 Metascore
    • 38 Michael Phillips
    Ritchie, who shoots and cuts everything in RocknRolla like an ad for a particularly greasy brand of fragrance for men, delivers the beatings and killings in his trademark atmosphere of morally weightless flash.

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