Michael Phillips
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For 1,408 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 4.8 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Flight of the Red Balloon
Lowest review score: 0 Sucker Punch
Score distribution:
1,408 movie reviews
    • 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.
    • 77 Metascore
    • 75 Michael Phillips
    Gives dumpster-divers a chance to slum in the antiseptic safety of a multiplex. (Planet Terror ** (out of four) / Death Proof ***1/2 (out of four).
    • 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.
    • 68 Metascore
    • 75 Michael Phillips
    Effective dialogue doesn't necessarily mean witty dialogue, but wit certainly helps, and you tend not to get much of it in a low-key legal thriller. Fracture is an exception.
    • 65 Metascore
    • 75 Michael Phillips
    While not everything in Jindabyne works, especially in its final, redemptive third, the film and its faces stay with you.
    • 54 Metascore
    • 75 Michael Phillips
    Janssen is an intense screen presence. Too often she's stuck playing humorless towering antagonists. Here, happily, she's allowed to be a real person.
    • 66 Metascore
    • 75 Michael Phillips
    The film works best when it pays specific attention to how hard it is to write a rhyme worth hearing.
    • 77 Metascore
    • 75 Michael Phillips
    Porumboiu's picture, small and pungent, lacks the resonance of "The Death of Mr. Lazarescu," Cristi Puiu's masterpiece of contemporary Romanian malaise released in the U.S. last year. But this one's less forbidding, and it has a satisfying shape and fullness.
    • 72 Metascore
    • 75 Michael Phillips
    A small but droll big-box comedy.
    • 64 Metascore
    • 75 Michael Phillips
    Swift, sharp adaptation of Stephen King's short story (from the "Everything's Eventual" collection).
    • 74 Metascore
    • 75 Michael Phillips
    A worthy film on a great, tragic subject.
    • 64 Metascore
    • 75 Michael Phillips
    Leoni is one of the truly distinctive comic actresses we have in the movies today, a tough broad with murderously effective timing and phrasing.
    • 74 Metascore
    • 75 Michael Phillips
    Sicko doesn't formulate a way out of this heartless craps game we're playing. It is, however, a very entertaining position paper, and a reminder that we should do better by more of our citizenry.
    • 71 Metascore
    • 75 Michael Phillips
    Destined to be remembered as the one that handed the screen Harry his first kiss. Like much of the film, the smooch comes and goes briskly, without a lot of fuss.
    • 64 Metascore
    • 75 Michael Phillips
    The film's emotional claustrophobia may not be for everyone.
    • 81 Metascore
    • 75 Michael Phillips
    Less polished but more fun than "Dreamgirls." Both are drag revues at heart, one funny, the other serious. I prefer the funny one.
    • 80 Metascore
    • 75 Michael Phillips
    It's hard not to like it. And in both senses of the phrase, America keeps asking for it.
    • 76 Metascore
    • 75 Michael Phillips
    In this teen-boy universe, sex is everywhere and nowhere, it's oozing out of every pop culture pore and every other insane boast, yet the idea of figuring out how to talk to girls without turning into a yutz remains elusive.
    • 73 Metascore
    • 75 Michael Phillips
    The more you like Leone's work the more you'll likely respond to To's latest. Which is odd, considering Exiled is a gangster picture by strict definition.
    • 61 Metascore
    • 75 Michael Phillips
    Ladron plays like a telenovela without the melodrama. The characters are brightly drawn archetypes, and the humor's very broad. But the tone is nice and brash.
    • 84 Metascore
    • 75 Michael Phillips
    It has the air of an officially sanctioned tribute rather than a probing study, but it's stirring all the same.
    • 55 Metascore
    • 75 Michael Phillips
    But by the end, when Gandolfini and Sarandon sing their sweet, hesitant little duet, it’s clear Turturro knew where he was going all along.
    • 61 Metascore
    • 75 Michael Phillips
    Director and co-writer Eytan Fox is going for a sexually democratic, politically aware variation on story themes familiar to "Sex and the City" viewers. (At one point Lulu is referred to as "Miss Israeli Carrie Bradshaw.") Surprisingly, it works, and the entire cast is excellent.
    • 62 Metascore
    • 75 Michael Phillips
    The film may be slight, but it is not stupid, and director Robert Cary keeps both stickiness and shtickiness at bay.
    • 56 Metascore
    • 75 Michael Phillips
    The Brave One is "Death Wish" with a guilty conscience, and while it may be a bit of a hypocrite as vigilante thrillers go, the internal contradictions of the thing make for a very interesting picture.
    • 73 Metascore
    • 75 Michael Phillips
    It’s half-crock and half-sublime, which seems about right for its subject.
    • 83 Metascore
    • 75 Michael Phillips
    By the end of Lake of Fire, you know full well you’re in the presence of a deeply conflicted filmmaker, bound to make all sides uneasy, even enraged.