Michael Phillips
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For 1,507 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 4.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Museum Hours
Lowest review score: 0 Bratz
Score distribution:
1,507 movie reviews
    • 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.
    • 71 Metascore
    • 75 Michael Phillips
    With his thin-lipped grimace and big, soulful eyes, Lindon's an ideal actor for this sort of puzzle.
    • 66 Metascore
    • 75 Michael Phillips
    Danny Trejo plays Sherry's sometime lover and friend, and he's a big asset to a small, sharp film that won't be for everyone. That's a compliment.
    • 74 Metascore
    • 75 Michael Phillips
    The director is Kevin Macdonald, a documentary filmmaker making his fiction film feature debut. (He won an Oscar for his Munich Olympics hostage chronicle, "One Day in September.")
    • 86 Metascore
    • 75 Michael Phillips
    The Departed exists in a movie-place about as far from personal statements as a storied director can get. Maybe those days for Scorsese are long gone. But Scorsese's sense of craft remains sure.
    • 64 Metascore
    • 75 Michael Phillips
    It's refreshing to see a non-mainstream movie that wears its heart and lust on its sleeve, and has anything but violence on its mind.
    • 69 Metascore
    • 75 Michael Phillips
    Guaranteed to make you think twice about what you're paying for what you're drinking.
    • 77 Metascore
    • 75 Michael Phillips
    The film has a compelling way about it. All five of the immediate Block family members emerge in full and affecting portraits.
    • 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.
    • 77 Metascore
    • 75 Michael Phillips
    A lot of director George Miller's film is gorgeous and exciting. Its craftsmanship and ambition put it a continent ahead of nearly every other animated feature of the last couple of years.
    • 64 Metascore
    • 75 Michael Phillips
    Linklater's working-class mosaic is seriously interested in how most of this country gets by for a living. And that, sadly, makes it distinctive.
    • 68 Metascore
    • 75 Michael Phillips
    True to form, Guest's newest doesn't pull out the long knives. On the gentleness scale, this one's way over here, as opposed to the film of the moment, "Borat," which is way, way over there.
    • 74 Metascore
    • 75 Michael Phillips
    The film is worth seeing, if you have any fondness for the writer who co-created "Beyond the Fringe" and who is second only to Stoppard in his sprightly but mellow wit.
    • 76 Metascore
    • 75 Michael Phillips
    Dreamgirls is performed, shot, edited and packaged like a coming-attractions trailer for itself. Ordinarily that would be enough to sink a film straight off, unless you're a fan of "Moulin Rouge." But this one's a good time.
    • 72 Metascore
    • 75 Michael Phillips
    It may not look like anything he's done before, but Inland Empire joins "Mulholland" and the whatzit "Lost Highway" (1997) to form the strangest show-business triptych around. All three concern artists whose identities demand more than one body. The films give new meaning to the phrase "dual citizenship."
    • 62 Metascore
    • 75 Michael Phillips
    There's something very right with Off the Black in terms of pure emotion and performance craft.
    • 69 Metascore
    • 75 Michael Phillips
    The Chinese locations ache with beauty. And when Watts and Norton focus, intently, on Maugham's often dazzlingly vindictive characters, The Painted Veil really does feel like a story worth filming a third time.
    • 68 Metascore
    • 75 Michael Phillips
    Now, about the spider. Julia Roberts voices Charlotte in a way that suggests ... not much, I'm afraid. She may be a genuine movie star and can be a good actress, but her voice -- and what she does with it -- never has been one of her strengths.
    • 64 Metascore
    • 75 Michael Phillips
    While the film is roughly half grit and half sugar, it works because Smith sticks to a tougher, more rewarding recipe of 99.9 percent grit and only .1 percent sugar.
    • 73 Metascore
    • 75 Michael Phillips
    Leave it to the first-class actors dining out on those roles to make the cat and the mouse interesting and unpredictable.
    • 53 Metascore
    • 75 Michael Phillips
    Around the midpoint Alpha Dog becomes less sociological and more personal, developing a real sense of suspense.
    • 72 Metascore
    • 75 Michael Phillips
    A year into their new lives, all three men experience profound isolation. How, they wonder, can Americans live such anti-social lives, so unconcerned with the idea of societal interdependence? This is the chief unexamined question raised by a worthy picture. What is there holds you all the same.
    • 59 Metascore
    • 75 Michael Phillips
    Grant and Barrymore are very enjoyable together onscreen. Who would've guessed that Barrymore would turn into such a deft comedian?
    • 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."
    • 55 Metascore
    • 75 Michael Phillips
    Howard, playing an inspirational and resourceful man up against long odds, really is an inspiration.
    • 64 Metascore
    • 75 Michael Phillips
    Fundamentally Blades of Glory works; it's full of laughs both subtle and ridiculous.
    • 73 Metascore
    • 75 Michael Phillips
    Frank's dialogue owes a little something to Elmore Leonard, but it's less comic and heavily brocaded.
    • 43 Metascore
    • 75 Michael Phillips
    A surprisingly heartfelt father/son relationship, handled with restraint by director Todd Holland.

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