Michael Phillips
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For 1,460 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 The Class
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
1,460 movie reviews
    • 77 Metascore
    • 88 Michael Phillips
    The Messenger is not itself grueling, which is practically a miracle. Rather, this pungent little chamber piece offers a full yet delicate range of emotions, and it humanizes its characters so that polemics are left in the background.
    • 73 Metascore
    • 88 Michael Phillips
    Warts, entrails and all, I had a ball at Zombieland. It’s 81 minutes of my kind of stupid.
    • 66 Metascore
    • 88 Michael Phillips
    More than any previous screen role, this one affords Damon a chance to work his sly comic chops.
    • 58 Metascore
    • 88 Michael Phillips
    The film is gripping---an honorable and beautifully acted addition to the tradition of homefront war stories.
    • 49 Metascore
    • 88 Michael Phillips
    I’m inclined to agree with a colleague who told me he could swing with Antichrist when it was simply unstable but couldn’t go with it when it turned insane.
    • 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.
    • 73 Metascore
    • 88 Michael Phillips
    A real charmer, Me and Orson Welles is the work of a director who takes nostalgia, romantic possibility and the theater seriously, without being a pill about it.
    • 91 Metascore
    • 88 Michael Phillips
    As pure craftsmanship, No Country for Old Men is as good as we’ve ever gotten from Joel and Ethan Coen. Only “Fargo” is more satisfying (it’s also a comedy, which this one isn’t).
    • 83 Metascore
    • 88 Michael Phillips
    Raimi knows how to modulate his technique, as with the coolly controlled morality tale "A Simple Plan," but he's a firm believer in the power of an active, expressive camera, as well as the value of insinuation.
    • 89 Metascore
    • 88 Michael Phillips
    The acting's so true, and Bahrani's so observant, you find yourself caring about everyone onscreen.
    • 80 Metascore
    • 88 Michael Phillips
    It pulls audiences into a meticulously detailed universe, familiar in many respects, wacked and menacing in many others.
    • 61 Metascore
    • 88 Michael Phillips
    The funniest American comedy of the summer.
    • 67 Metascore
    • 88 Michael Phillips
    As a director, Kaufman isn't yet his own best salesman. He's not enough of a visual stylist to sell his script's most challenging conceits. But the cast rises to a very strange and rich occasion.
    • 84 Metascore
    • 88 Michael Phillips
    It is that rare futuristic thriller: grim in its scenario, yet exhilarating in its technique.
    • 82 Metascore
    • 88 Michael Phillips
    A triumph of ambience, Rachel Getting Married is the first narrative feature since the 1980s from director Jonathan Demme that feels like a party--bittersweet, but a party nonetheless.
    • 88 Metascore
    • 88 Michael Phillips
    The filmmaker's documentary training pays off in detail after detail.
    • 79 Metascore
    • 88 Michael Phillips
    As big-budget comic book adaptations go, this one's a gratifying freak--the right kind of conflicted, as well as quick-witted. It's a lot of fun.
    • 85 Metascore
    • 88 Michael Phillips
    Knocked Up is more verbally adroit than it is visually. But Apatow's awfully sharp as a chronicler of contemporary romantic anxieties.
    • 91 Metascore
    • 88 Michael Phillips
    The film goes pretty easy on the royals in the end, and it's a flattering portrait of Blair. But it's not credulous. Frears may swim in the political mainstream with The Queen but he does so like a champion channel crosser.
    • 81 Metascore
    • 88 Michael Phillips
    Ellen Page is key to its success, as much as Cody, or director Jason Reitman.
    • 78 Metascore
    • 88 Michael Phillips
    The latest, meticulously atmospheric and wonderfully acted Potter adventure lands happily--broodingly, but happily---near the top of the series heap, just behind Alfonso Cuaron's "Harry Potter and the Prisoner of Azkaban."
    • 73 Metascore
    • 88 Michael Phillips
    Be warned: Thirst is one of those pictures that tacks on another chapter just when you think it’s wrapping up.
    • 81 Metascore
    • 88 Michael Phillips
    The Wrestler works for the same reason "Rachel Getting Married" works. The way they're acted, shot, edited and scored, both films deploy a loose, rough-hewn documentary style to great dramatic advantage. The corn isn't hyped. The performances click without going for the jugular.
    • 78 Metascore
    • 88 Michael Phillips
    It's fascinating and unexpected both in its simple, looming images and its storytelling priorities, which may not intersect with the priorities of audiences who couldn't get enough of "Se7en."
    • 84 Metascore
    • 88 Michael Phillips
    Revanche has an unusual rhythm: Once it leaves the grotty urban despair behind for the deceptive calm of the countryside, it relaxes and explores the character’s interior lives.
    • 85 Metascore
    • 88 Michael Phillips
    Hampton and Wright have been more than sensible when it comes to Atonement. They’ve responded intuitively to a tale that is half art and half potboiler, like so many stories worth telling.
    • 82 Metascore
    • 88 Michael Phillips
    I can't imagine Anvil! not appealing to anyone interested in any aspect of showbiz, and the drug of fame, and the lives people lead in pursuit of the next fix.
    • 78 Metascore
    • 88 Michael Phillips
    Swift, vicious and grimly imaginative, the zombie film 28 Weeks Later exceeds its predecessor, "28 Days Later," in every way.
    • 85 Metascore
    • 88 Michael Phillips
    This is the most satisfying thriller of the year, capping the Bourne trilogy.
    • 81 Metascore
    • 88 Michael Phillips
    Eleven years ago director Campbell made "GoldenEye," the first of the Brosnan Bond pictures. Casino Royale trumps it every which way.

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