Michael Phillips

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For 1,750 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 3.5 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Letters from Iwo Jima
Lowest review score: 0 Vacation
Score distribution:
1750 movie reviews
    • 68 Metascore
    • 88 Michael Phillips
    While Streep has a tiny bit too much fun with some of her character's excesses, she's awfully good. So is Hoffman, who walks a fine line between obvious guilt and possible innocence.
    • 81 Metascore
    • 88 Michael Phillips
    They're lifelike, I suppose, in that you believe and become invested in what happens to everyone. But they're poetic, too, in that Reichardt and her first-rate ensemble find intersections of the mundane and the mysterious all around this broad, blustery landscape.
    • 61 Metascore
    • 88 Michael Phillips
    This is an inspirational true story worried less about turning dramatic screws than earning its feeling through character.
    • 88 Metascore
    • 88 Michael Phillips
    Even with its limitations it's one of the necessary films of 2013.
    • 80 Metascore
    • 88 Michael Phillips
    Disney TV star Bridgit Mendler brings an effective if limited friendliness to Arrietty; Will Arnett and Amy Poehler are relatively restrained as her parents; Carol Burnett runs through a career's worth of vocal flourishes and aural panic attacks as the housekeeper.
    • 65 Metascore
    • 88 Michael Phillips
    A rich and surprisingly old-fashioned musical biopic, The Runaways has neither the bloat nor the blather of your average Hollywood treatment of stars on the rise.
    • 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.
    • 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.
    • 71 Metascore
    • 88 Michael Phillips
    Bone-dry but completely assured, both in its visual strategy and its wry deconstruction of the workplace comedy genre.
    • 72 Metascore
    • 88 Michael Phillips
    The new film works. It's rousing.
    • 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.
    • 88 Metascore
    • 88 Michael Phillips
    Matt Damon narrates, and I do wish the narration didn't end on such a generalized, throw-the-bums-out note, over footage of the Statue of Liberty.
    • 70 Metascore
    • 88 Michael Phillips
    In relation to the well-made and sensitive confines of "The Messenger," Rampart required a more unruly visual approach. Beginning and ending with Harrelson, this sophomore effort is full of malignant life.
    • 73 Metascore
    • 88 Michael Phillips
    It is a fine little old-school thriller.
    • 78 Metascore
    • 88 Michael Phillips
    It feels fresh and unpredictable, as quietly strange as the remarkable musical score from first-time feature film composer Mica Levi.
    • 74 Metascore
    • 88 Michael Phillips
    Amuses and unnerves in equal measure.
    • 81 Metascore
    • 88 Michael Phillips
    While the protracted third act doesn't kill the two-hour, 23-minute picture, "Casino Royale" remains the best of the recent Bonds, with Skyfall just a notch below it.
    • 73 Metascore
    • 88 Michael Phillips
    Everything about Kung Fu Panda is a little better, a little sharper, a little funnier than the animated run of the mill.
    • 81 Metascore
    • 88 Michael Phillips
    It's an odd, hermetic and fascinating picture.
    • 82 Metascore
    • 88 Michael Phillips
    Best of all: the musical score by Alfonso de Vilallonga. It's terrific — witty, symphonically lush and shrewdly informed by flamenco strains throughout.
    • 55 Metascore
    • 88 Michael Phillips
    I greatly prefer this cleverly sustained and efficiently relentless remake to the '73 edition. It is lean and simple.
    • 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.
    • 96 Metascore
    • 88 Michael Phillips
    It's a nerve-wracking visual experience of unusual and paradoxical delicacy. And if your stomach can take it, it's truly something to see.
    • 62 Metascore
    • 88 Michael Phillips
    I prefer my horror with a chaser of wit, and Severance, a modest but very lively British import, serves it up in harsh but high style.
    • 68 Metascore
    • 88 Michael Phillips
    It is a film, often breathtaking without settling for being pretty, filled with nervous silence.
    • 71 Metascore
    • 88 Michael Phillips
    Get on Up hits all these high points. But the Butterworths fracture the order, fruitfully. They're more interested in making musical and dramatic connections across time and space — something in the '70s triggering a childhood memory, for example — than in laying them out predictably.
    • 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.
    • 64 Metascore
    • 88 Michael Phillips
    Gigante represents the sort of artful low-budget accomplishment that could, and should, be coming out of distressingly stingy Chicago once a year — whatever the subject, whatever the sensibility.
    • 72 Metascore
    • 88 Michael Phillips
    You wait for months, sometimes, for a movie to show you something new. "7 Boxes" does exactly that, and while it's no more than a briskly managed bit of escapism, it's a really good example of same.
    • 88 Metascore
    • 88 Michael Phillips
    What the movie has, above all, is a dramatic line, clean and straight. In its faces, its scenery and its plain satisfactions it makes us feel like we've been somewhere, when we get to the end of that line.

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