Michael Phillips

Select another critic »
For 1,633 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: 65
Highest review score: 100 Moneyball
Lowest review score: 0 That's My Boy
Score distribution:
1633 movie reviews
    • 88 Metascore
    • 88 Michael Phillips
    The film works, whatever your ethical stance on Snowden, because it's more procedural than polemic.
    • 58 Metascore
    • 88 Michael Phillips
    A tough-minded, empathetic portrait of dreamers on the edge.
    • 89 Metascore
    • 88 Michael Phillips
    A rich and troubling documentary highlight of the year.
    • 76 Metascore
    • 88 Michael Phillips
    Happy Valley might've fleshed out some of these larger implications. The film could've benefited from another 15 or 20 minutes of detail and nuance. What's there, though, is strong, thoughtful and disturbing.
    • 89 Metascore
    • 88 Michael Phillips
    It's good for the soul, and composer Joe Hisaishi's themes are so right they sound as if they came straight out of the ground with the girl in the bamboo.
    • 86 Metascore
    • 88 Michael Phillips
    Here's one of the strongest feature film debuts in a long time, in any genre.
    • 89 Metascore
    • 88 Michael Phillips
    Like "Lincoln," written by Tony Kushner and directed by Steven Spielberg, DuVernay's Selma ushers us into the world of the backstage, back-room and back-scratching political process, dramatizing how the sausage was actually made.
    • 92 Metascore
    • 88 Michael Phillips
    It's a small story set in a memorably desolate location. The actors, all quite magnificent, enlarge it, just as cinematographer Mikhail Krichman illuminates the vistas and roadways and even the furtive kitchen table glances between clandestine lovers.
    • 81 Metascore
    • 88 Michael Phillips
    For some of us, Anderson's LA lamentation is a siren song, and there's no more ardent and poetic chronicler of California mythology.
    • 75 Metascore
    • 88 Michael Phillips
    The National Society of Film Critics recently cited Jean-Luc Godard's Goodbye to Language, the nuttiest lil' picture ever released in 3-D, as the best film of 2014, nosing out "Boyhood" by a single vote.
    • 89 Metascore
    • 88 Michael Phillips
    As is, Cotillard (nominated for best actress) scrupulously avoids melodrama. There's enough without it, in watching a story of an ordinary woman argue for her dignity, her colleagues' better instincts and her own livelihood.
    • 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.
    • 74 Metascore
    • 88 Michael Phillips
    Engrossing and weirdly funny.
    • 93 Metascore
    • 88 Michael Phillips
    Nina Paley's delicious Sita Sings the Blues finds solace in autobiography and an animated gold mine in the caverns of an ancient Sanskrit epic.
    • 73 Metascore
    • 88 Michael Phillips
    Some may find Results a little light on plot (it is). But with the Smulders character, we're treated to a refreshingly dimensional female lead. Kat isn't one of those aggravating Type A Katherine Heigl cliches. Nor is she a mere attractive doormat. She's prickly, a little lost, but running her own show, and on the road to something better.
    • 94 Metascore
    • 88 Michael Phillips
    The life of Riley is not exotic; her troubles are not unique. But they are rendered with serious imagination by Docter and company.
    • 72 Metascore
    • 88 Michael Phillips
    The tone of Dope is very interesting — funny, but rarely stupid-funny.
    • 82 Metascore
    • 88 Michael Phillips
    The Coens' film is a wisenheimer, a mordant black comedy. Eden is utterly different, more muted and humane in tone. It won't be enough for some audiences.
    • 85 Metascore
    • 88 Michael Phillips
    Amy
    Amy stays above the tabloid fray, up to a point. Kapadia hasn't made a groundbreaking documentary; it's more like a classy, high-end edition of "Behind the Music."
    • 75 Metascore
    • 88 Michael Phillips
    Trainwreck is all kinds of funny, and like any talent showcase worth its salt, the tone of the humor adjusts to suit the talents on screen.
    • 75 Metascore
    • 88 Michael Phillips
    The most assured and satisfying of the five so far.
    • 92 Metascore
    • 88 Michael Phillips
    Painful and unforgettable — a serious and honorable form, perhaps the highest, of "gotcha" journalism imaginable.
    • 78 Metascore
    • 88 Michael Phillips
    Perry may never make a movie for the masses, whoever they are. But his truest work burrows into weird, blackly comic places few other filmmakers would dare explore.
    • 79 Metascore
    • 88 Michael Phillips
    It's a strong reminder of the times, then and now.
    • 80 Metascore
    • 88 Michael Phillips
    It's one of the most comforting science fiction films in years.
    • 77 Metascore
    • 88 Michael Phillips
    The movie finds what solace it can in giving voice to those who escaped this church's grasp.
    • 82 Metascore
    • 88 Michael Phillips
    Muylaert's picture relates to many other South American domestic comedies pitting "the help" against the economic overlords, but this one has the grace to humanize everyone on screen. The results are both smart and curious.
    • 81 Metascore
    • 88 Michael Phillips
    The film is an anomaly — a confident, slightly square, highly satisfying example of old-school Hollywood craftsmanship, starring a major movie star brandishing a briefcase, and a handkerchief, rather than a pistol.
    • 87 Metascore
    • 88 Michael Phillips
    It's one of the most satisfying films of 2015.
    • 82 Metascore
    • 88 Michael Phillips
    Half the film, written by Coogler and Aaron Covington, revels in cliches, skillfully. The other half sidesteps them and concentrates on scenes and relationships that breathe easily and draw us in the hard way: not by narrative fiat or bald calculation, but through well-written and shrewdly acted encounters.

Top Trailers