Michael Phillips
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For 1,530 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Alexandra
Lowest review score: 0 Bratz
Score distribution:
1,530 movie reviews
    • 83 Metascore
    • 88 Michael Phillips
    While director Armando Iannucci's brand of satire -- just plausible enough to be painful -- isn't for all tastes, it's a little bit of heaven to hear screen characters spew such eloquently vicious bile.
    • 79 Metascore
    • 88 Michael Phillips
    John Hawkes is wonderful as O'Brien, as is Helen Hunt as the surrogate whose sessions with O'Brien form the crux of the film. The results are extremely moving and, in general, low on egregiously yanked heartstrings or the usual biopic filler.
    • 88 Metascore
    • 88 Michael Phillips
    One of Anderson's cleverest and most gorgeous movies, dipping just enough of a toe in the real world — and in the melancholy works of its acknowledged inspiration, the late Austrian writer Stefan Zweig — to prevent the whole thing from floating off into the ether of minor whimsy.
    • 80 Metascore
    • 75 Michael Phillips
    It's hard not to like it. And in both senses of the phrase, America keeps asking for it.
    • 78 Metascore
    • 75 Michael Phillips
    The cast is excellent, particularly Riley and Morton and, as Joy Division’s brash manager, Toby Kebbell. He’s a great character, bitter and hostile and a scoundrel: a born manager of talent destined to tear itself apart.
    • 92 Metascore
    • 75 Michael Phillips
    Though uneven and less witty than the first two, Toy Story 3 delivers quite enough in two dimensions.
    • 44 Metascore
    • 75 Michael Phillips
    The performances and Marcos Siega’s direction put a pleasing sheen on the material.
    • 76 Metascore
    • 75 Michael Phillips
    It's an odd film, ultimately rewarding, because it's about an odd venture.
    • 72 Metascore
    • 75 Michael Phillips
    A rewardingly twisted hybrid of low-fi mumblecore and stylized thriller.
    • 83 Metascore
    • 75 Michael Phillips
    The first 90 minutes of Avatar are pretty terrific - a full-immersion technological wonder with wonders to spare. The other 72 minutes, less and less terrific.
    • 70 Metascore
    • 75 Michael Phillips
    Modest in every way, the screenplay by Phil Johnston is enjoyable in the telling even when the details smack of contrivance.
    • 71 Metascore
    • 75 Michael Phillips
    It's entirely possible, maybe even inevitable, that Like Crazy will win over a good many moviegoers despite its bouts of semipreciousness. In the end, I was one of them.
    • 85 Metascore
    • 75 Michael Phillips
    It's a vivid ensemble experience, and the acting is wonderful.
    • 81 Metascore
    • 75 Michael Phillips
    The best of it is a riot--a "Bad Boys II" fireball hurled with exquisite accuracy at a quaint English town peopled by Agatha Christie archetypes.
    • 74 Metascore
    • 75 Michael Phillips
    Cooper is the reason to see the film, which was photographed by Tak Fujimoto in the dour tones he brought to a more flagrant realm of evil, and FBI detective work, in "The Silence of the Lambs."
    • 74 Metascore
    • 75 Michael Phillips
    A worthy film on a great, tragic subject.
    • 69 Metascore
    • 75 Michael Phillips
    The movie works best whenever Corden and Blunt, performers of nearly limitless appeal and sweet-natured vulnerability, take the story back from their cohorts, though Kendrick is no less beguiling.
    • 46 Metascore
    • 75 Michael Phillips
    It's relaxed without being sloppy, or patronizing, and in particular Witherspoon and Lemmon - sorry, make that Rudd - bring charm to burn.
    • 65 Metascore
    • 75 Michael Phillips
    Like the "Bourne" franchise to which Noyce's film is indebted, Salt is a combination of pursuit, evasion, name-clearing and a reversal or two.
    • 64 Metascore
    • 75 Michael Phillips
    It’s dumb but quick and dirty and effectively brusque, dispensing with niceties such as character.
    • 79 Metascore
    • 75 Michael Phillips
    The original was a very good thriller. The new one is simply a good one.
    • 90 Metascore
    • 75 Michael Phillips
    The way Lawrence captures a young woman's fear and resolve, often non-verbally, well … this is a considerable talent well on her way to a great career. It's for performances like this that moviegoers find themselves taking a chance on a title that doesn't have a fast-food tie-in.
    • 67 Metascore
    • 75 Michael Phillips
    When Ferrell and Hoffman do their thing together, a charming bit of whimsy becomes something more. It becomes really, really funny.
    • 86 Metascore
    • 75 Michael Phillips
    After last year's black-hearted "No Country for Old Men," the Oscars may well be in the mood to embrace a fairy tale sampling every imaginable genre, with a note of triumph accompanying even the worst suffering, capped by the snazziest ending money can buy.
    • 64 Metascore
    • 75 Michael Phillips
    State of Play isn't a kinetic fireball like the second or third "Bourne" installment; like its protagonist, it's defiantly old school, "Three Days of the Condor" bleeding into "All the President's Men."
    • 43 Metascore
    • 75 Michael Phillips
    Nothing in director Paul W.S. Anderson's schlock drawer--prepares you for the peppy, good-time nastiness that is Death Race.
    • 79 Metascore
    • 75 Michael Phillips
    Life of Pi, Yann Martel's beautiful little book about a young man and the sea and a tiger, has transformed into a big, imposing and often lovely 3-D experience.
    • 49 Metascore
    • 75 Michael Phillips
    For visual noise by the ton, Emmerich is my kind of hack, the pluperfect blend of leaden self-seriousness and accidental-on-purpose self-satirist.
    • 50 Metascore
    • 75 Michael Phillips
    The satisfactions of the film are in seeing what a screen full of excellent players can do to steer you around the holes. Bana never quite seems enough to anchor a picture for me; all the same, he acquits himself sharply here.
    • 64 Metascore
    • 75 Michael Phillips
    Killing Them Softly isn't anything major. But it's a pungent minor film only vaguely resembling the one The Weinstein Co. is advertising, and that's fine with me.

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