Michael Phillips
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For 1,434 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 The Class
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
1,434 movie reviews
    • 81 Metascore
    • 88 Michael Phillips
    To millions, Stritch is the Emmy-winning actress who did "30 Rock," playing Alec Baldwin's mom. Those people who don't know the rest of her story should take the 82 minutes to see this.
    • 88 Metascore
    • 88 Michael Phillips
    One of Anderson's cleverest and most gorgeous movies, dipping just enough of a toe in the real world — and in the melancholy works of its acknowledged inspiration, the late Austrian writer Stefan Zweig — to prevent the whole thing from floating off into the ether of minor whimsy.
    • 79 Metascore
    • 88 Michael Phillips
    Had this ambitious head trip come to pass, it might've made Kubrick's "2001: A Space Odyssey" look like "Go, Dog. Go!"
    • 75 Metascore
    • 88 Michael Phillips
    Vivian Maier is a great Chicago story. And what she did for, and with, the faces, neighborhoods and character of mid-20th century Chicago deserves comparison to what Robert Frank accomplished, in a wider format, with "The Americans."
    • 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.
    • 62 Metascore
    • 88 Michael Phillips
    The director thinks visually, which sounds redundant until you realize how many monster movies are flat, effects-dependent factory jobs. Edwards knows how to use great heights for great effect.
    • 76 Metascore
    • 88 Michael Phillips
    Looks, feels and flows like a real movie. It's better than the last few Pixar features, among other things, and from where I sit that includes "Toy Story 3."
    • 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.
    • 83 Metascore
    • 88 Michael Phillips
    Do not expect dynamic filmmaking from Love Is Strange. It's about other things, and Lithgow and Molina are splendid, their eyes full of wisdom and experience.
    • 75 Metascore
    • 88 Michael Phillips
    A functioning, funny, weirdly touching fable of artistic angst and aspiration, a meditation on fame and its terrors and the metaphoric usefulness of masks and huge fake heads.
    • 78 Metascore
    • 88 Michael Phillips
    Wasikowska is wonderful here, unaffected and affecting, but then she has long been a young actress conveying a rich and shadowy interior life on screen. She humanized the Tim Burton "Alice in Wonderland," so clearly she can do nearly anything.
    • 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.
    • 87 Metascore
    • 88 Michael Phillips
    We need films such as Kennedy's as a corrective.
    • 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.