Michael Phillips

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For 1,573 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 4.5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 The Queen of Versailles
Lowest review score: 0 That's My Boy
Score distribution:
1,573 movie reviews
    • 71 Metascore
    • 100 Michael Phillips
    Your kids may will fall in love with it, if you help them find it.
    • 97 Metascore
    • 100 Michael Phillips
    The result is a mixture of unified atmosphere and lived-in character study, and while Vasiliu’s role is not as indelible as that of her co-stars, Marinca’s Otilia and Ivanov’s steely abortionist are just about perfect.
    • 67 Metascore
    • 100 Michael Phillips
    The style is brash, and it works. Tucker and Epperlein illustrate Yunis' account of his eight-month imprisonment, much of that time spent at the notorious Abu Ghraib compound, with literal illustrations--pages seemingly torn out of a Frank Miller graphic novel.
    • 79 Metascore
    • 100 Michael Phillips
    A tart, brilliantly acted fable of life’s little cosmic difficulties, a Coen brothers comedy with a darker philosophical outlook than “No Country for Old Men” but with a script rich in verbal wit.
    • 79 Metascore
    • 100 Michael Phillips
    Dear White People isn't perfect. And yet the flaws really don't matter. This is the best film about college life in a long time, satiric or straight, comedy or drama.
    • 76 Metascore
    • 100 Michael Phillips
    Writer-director Perry has made a bracing and very Roth-y study of ambition and itchy literary yearning. In another time and another world, Robert Altman captured the essence of William Faulkner's landscape by filming a non-Faulkner crime story, "Thieves Like Us." This is comparable to what Perry has done here.
    • 84 Metascore
    • 100 Michael Phillips
    It's one of the year's most pleasurable American movies.
    • 94 Metascore
    • 100 Michael Phillips
    Leigh's film — one of the year's best — honors its subject in all his tetchy ambiguity.
    • 75 Metascore
    • 100 Michael Phillips
    The stories we hear in 24 City belong to its specific place, but they are universal.
    • 76 Metascore
    • 100 Michael Phillips
    Flight is exciting - terrific, really - because in addition to the sophisticated storytelling techniques by which it keeps us hooked, it doesn't drag audience sympathies around by the nose, telling us what to think or how to judge the reckless, charismatic protagonist played by Denzel Washington.
    • 75 Metascore
    • 100 Michael Phillips
    Unnervingly good, Little Children is one of the rare American films about adultery that feels right--dangerous, hushed, immediate.
    • 81 Metascore
    • 100 Michael Phillips
    It's not for all tastes; it requires some patience. The more your own job involves absurd, time-consuming bits of minutiae, the more familiar (and amusing) it'll seem.
    • 85 Metascore
    • 100 Michael Phillips
    It's unlike any other war film, in any language.
    • 77 Metascore
    • 100 Michael Phillips
    See it, and I dare you not to care about what happens to these kids, these Yankees of chess.
    • 83 Metascore
    • 100 Michael Phillips
    '71
    Swift and exciting, with no taste for the usual war movie heroics, first-time feature film director Yann Demange's film belongs on a short list of immersive, rattling, authentic fictions right next door to the fact of survival inside a war zone.
    • 85 Metascore
    • 100 Michael Phillips
    Fruitvale Station works because Coogler and his leading man present a many-sided protagonist, neither saint nor unalloyed sinner.
    • 81 Metascore
    • 100 Michael Phillips
    Dense like a detailed graphic novel in the Chris Ware or R. Crumb vein, but a real movie in every way, Consuming Spirits is a strange and wormy accomplishment, the sort of personal epic only the most obsessive of cinematic madmen undertake, let alone complete.
    • 90 Metascore
    • 100 Michael Phillips
    The whole movie, a feast of ensemble wiles and stunning hair, is juicy, funny and alive.
    • 87 Metascore
    • 100 Michael Phillips
    Both funny and sad, often in the same glance-averted instant. See it with someone you'd trust to stick around in an avalanche. It's one of the highlights of 2014.
    • 84 Metascore
    • 100 Michael Phillips
    Ballast strikes me as one of the few American pictures of 2008 to say what it wants to say, visually and narratively, about a specific situation and part of the country, in a way that transcends regional specifics.
    • 81 Metascore
    • 100 Michael Phillips
    What are the odds that the year's most compelling mystery would end up hanging its hat on the year's richest love story
    • 84 Metascore
    • 100 Michael Phillips
    Desplechin's films are great, chaotic, unsettling fun. This one's scored, elegantly, to a mixture of standards and classics and original music by Gregoire Hetzel.
    • 66 Metascore
    • 100 Michael Phillips
    Baumbach’s achievement stings. It also has the sureness of tone and direction of a Chekhov story.
    • 92 Metascore
    • 100 Michael Phillips
    This is one of the screen's most rewarding explorations of the teacher/student relationship in any language.
    • 88 Metascore
    • 100 Michael Phillips
    Up
    Some of the comic inventions are inspired: Muntz has a pack of dogs equipped with electronic voice boxes, which means they're talking dogs, only they speak as if they've learned English from a poorly translated Berlitz guide.
    • 77 Metascore
    • 100 Michael Phillips
    Some films aren't revelations, exactly, but they burrow so deeply into old truths about love and loss and the mess and thrill of life, they seem new anyway. A Single Man is one such film, one of the best of 2009
    • 87 Metascore
    • 100 Michael Phillips
    Movies concerned with the life, the mind, the body and the dawning self-respect of a 15-year-old girl running every sort of risk — these are rare. The Diary of a Teenage Girl is one of them, and it's terrific.
    • 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.

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