Michael Phillips

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For 1,759 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 Moneyball
Lowest review score: 0 The Do-Over
Score distribution:
1759 movie reviews
    • 75 Metascore
    • 88 Michael Phillips
    The Witnesses may be schematic, but it lets each character live and breathe. The film captures a time and place that seems very distant now.
    • 82 Metascore
    • 88 Michael Phillips
    Tone is everything here. While likely influenced by Chilean absurdists of another era, such as playwright Egon Wolff, in The Maid Silva treads an ultra-fine line between caricature and character, leaning toward the latter without weighing down an essentially featherweight creation.
    • 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."
    • 78 Metascore
    • 88 Michael Phillips
    It is not an easy film to watch, nor should it be. It is, however, beautifully made. Annie Sundberg and Ricki Stern, the co-directors, wrangle their information and lay it out clearly, vividly and with a sharp sense of focus.
    • 92 Metascore
    • 88 Michael Phillips
    Painful and unforgettable — a serious and honorable form, perhaps the highest, of "gotcha" journalism imaginable.
    • 87 Metascore
    • 88 Michael Phillips
    This is the first film the Dardennes shot in the summertime. Excellent choice of seasons. I'm not sure I could've handled Cyril's travails without it, or without de France's smile.
    • 85 Metascore
    • 88 Michael Phillips
    This may be the most overtly Christian mainstream picture since "The Passion of the Christ." Unlike that one, though, Malick's comes with a generosity of spirit large enough to get all sorts of people (including non-believers) thinking about the nature of faith and what it's all about.
    • 74 Metascore
    • 88 Michael Phillips
    Farmiga's film doesn't state things directly, but we sense what is happening to Corinne, and how some turn to fundamentalism for complex and interconnected reasons.
    • 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.
    • 86 Metascore
    • 88 Michael Phillips
    We need films such as Kennedy's as a corrective.
    • 76 Metascore
    • 88 Michael Phillips
    The acting in Durkin's feature is excellent. Olsen is utilized largely as an object for camera adoration, but not in the usual glamorizing way. Olsen, Hawkes and company play slippery figures with lovely assurance.
    • 81 Metascore
    • 88 Michael Phillips
    Wiseman's film allows everyone their say, so that In Jackson Heights becomes one of the truest images of gentrification and its costs on film.
    • 85 Metascore
    • 88 Michael Phillips
    The tone of The Host is slippery in the best way; you're never sure if you're in for a joke or a shock, yet nothing feels random.
    • 83 Metascore
    • 88 Michael Phillips
    “Elephant” may have won the Palme d’Or at Cannes but it really didn’t have anything to say about anything. Modest and artful, Paranoid Park says a great deal.
    • 77 Metascore
    • 88 Michael Phillips
    This film, calm but full of feeling, relays an intriguing story brought to life by some beautiful actors.
    • 63 Metascore
    • 88 Michael Phillips
    Accomplishes what "Snakes on a Plane" did not: It offers a merrily idiotic movie to go with its willfully idiotic title.
    • 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.
    • 78 Metascore
    • 88 Michael Phillips
    Part Joel & Ethan Coen and part John Millington Synge, this grotty little fairy tale casts a deft line and reels you in. I'd see it again just to hear the drug smugglers argue over the use of the Americanism "good to go."
    • 72 Metascore
    • 88 Michael Phillips
    The movie is full, assured and extremely wry.
    • 84 Metascore
    • 88 Michael Phillips
    You always get more than one genre with this filmmaker. Volver draws upon all sorts of influences -- a little Hitchcock, a little Douglas Sirk, a little telenovela -- but from those sources Almodovar and his collaborators, both on screen and behind the camera, make an improbably organic whole.
    • 81 Metascore
    • 88 Michael Phillips
    Cooper's performance is his best yet. As is Lawrence's (the more crucial role, in fact).
    • 92 Metascore
    • 88 Michael Phillips
    Folk standards such "500 Miles," "The Death of Queen Anne" and "Dink's Song" infuse the movie, and as in the Coens' "O Brother, Where Art Thou?" T Bone Burnett has done first-rate work supervising the musical landscape. The film, I think, falls just a tick or two below the Coens' best work, which for me lies inside "A Serious Man" and "Fargo."
    • 79 Metascore
    • 88 Michael Phillips
    David Fincher's film version of the Gillian Flynn bestseller Gone Girl is a stealthy, snake-like achievement. It's everything the book was and more — more, certainly, in its sinister, brackish atmosphere dominated by mustard-yellow fluorescence, designed to make you squint, recoil and then lean in a little closer.
    • 73 Metascore
    • 88 Michael Phillips
    Certain things in Three Monkeys can only be described as brilliant.
    • 73 Metascore
    • 88 Michael Phillips
    Warts, entrails and all, I had a ball at Zombieland. It’s 81 minutes of my kind of stupid.
    • 74 Metascore
    • 88 Michael Phillips
    Engrossing and weirdly funny.
    • 82 Metascore
    • 88 Michael Phillips
    The Trip isn't much, but it's more than enough.
    • 88 Metascore
    • 88 Michael Phillips
    The filmmaker's documentary training pays off in detail after detail.
    • 85 Metascore
    • 88 Michael Phillips
    The film version of “Breakfast at Tiffany’s” came out in the year in which An Education is set, and beyond the hairstyles, there’s something of the willful, gleeful Golightly reinvention expert about Jenny.
    • 74 Metascore
    • 88 Michael Phillips
    I don't know if what the Safdies endured growing up was akin to what audiences experience in Daddy Longlegs. But I'm very glad they survived to make a very good film about it.

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