Michael Phillips

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For 1,795 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 2.9 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Alexandra
Lowest review score: 0 A Good Old Fashioned Orgy
Score distribution:
1795 movie reviews
    • 92 Metascore
    • 75 Michael Phillips
    Though uneven and less witty than the first two, Toy Story 3 delivers quite enough in two dimensions.
    • 92 Metascore
    • 88 Michael Phillips
    Painful and unforgettable — a serious and honorable form, perhaps the highest, of "gotcha" journalism imaginable.
    • 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.
    • 91 Metascore
    • 100 Michael Phillips
    From its initial first-person, behind-the-wheel viewpoint to its final implication of all-pervasive surveillance, Panahi creates a fascinating hybrid that becomes a microcosm of Tehran.
    • 91 Metascore
    • 100 Michael Phillips
    It is personal filmmaking of the highest order, recognized with an Academy Award nomination for best foreign film.
    • 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).
    • 91 Metascore
    • 100 Michael Phillips
    This is a great and necessary document in support of a two-state solution. Even those who don't believe in such a solution may find their minds changed by The Gatekeepers.
    • 91 Metascore
    • 100 Michael Phillips
    Ida
    One of the year's gems.
    • 90 Metascore
    • 75 Michael Phillips
    The way Lawrence captures a young woman's fear and resolve, often non-verbally, well … this is a considerable talent well on her way to a great career. It's for performances like this that moviegoers find themselves taking a chance on a title that doesn't have a fast-food tie-in.
    • 90 Metascore
    • 100 Michael Phillips
    Her
    A delicate, droll masterwork, writer-director Spike Jonze's Her sticks its neck out, all the way out, asserting that what the world needs now and evermore is love, sweet love. Preferably between humans, but you can't have everything all the time.
    • 90 Metascore
    • 88 Michael Phillips
    A Prophet pushes its protagonist into circumstances he did not choose but in which he watches and learns and kills and eventually becomes all he can be, albeit criminally. Certainly Muslims living in France have embraced the movie and Malik, played by Rahim
    • 90 Metascore
    • 75 Michael Phillips
    The creator of the original "Mad Max" trilogy has whipped up a gargantuan grunge symphony of vehicular mayhem that makes "Furious 7" look like "Curious George."
    • 90 Metascore
    • 100 Michael Phillips
    The whole movie, a feast of ensemble wiles and stunning hair, is juicy, funny and alive.
    • 89 Metascore
    • 88 Michael Phillips
    A rich and troubling documentary highlight of the year.
    • 89 Metascore
    • 100 Michael Phillips
    The film itself is perfectly poised between artistry and audacity. It's beautiful.
    • 89 Metascore
    • 100 Michael Phillips
    Borat is a rarity: a comedy whose middle name is danger, or as the Kazakhs say, kauwip-kater.
    • 89 Metascore
    • 88 Michael Phillips
    It's good for the soul, and composer Joe Hisaishi's themes are so right they sound as if they came straight out of the ground with the girl in the bamboo.
    • 89 Metascore
    • 100 Michael Phillips
    This is a small, tight, starkly claustrophobic film, closer in impact to Elie Wiesel's first-person account of the concentration camps, "Night," than to the artful, slightly suspect emotional catharsis of director Steven Spielberg's "Schindler's List."
    • 89 Metascore
    • 88 Michael Phillips
    As is, Cotillard (nominated for best actress) scrupulously avoids melodrama. There's enough without it, in watching a story of an ordinary woman argue for her dignity, her colleagues' better instincts and her own livelihood.
    • 89 Metascore
    • 100 Michael Phillips
    May be the best and saddest film of the year so far.
    • 89 Metascore
    • 88 Michael Phillips
    The acting's so true, and Bahrani's so observant, you find yourself caring about everyone onscreen.
    • 89 Metascore
    • 88 Michael Phillips
    Like "Lincoln," written by Tony Kushner and directed by Steven Spielberg, DuVernay's Selma ushers us into the world of the backstage, back-room and back-scratching political process, dramatizing how the sausage was actually made.
    • 89 Metascore
    • 88 Michael Phillips
    The Artist may not be great art, but it's pearly entertainment.
    • 89 Metascore
    • 100 Michael Phillips
    The word masterpiece costs nothing to write and means less than nothing in an age when every third picture and each new Clint Eastwood project is proclaimed as such. After two viewings, however, Letters From Iwo Jima strikes me as the peak achievement in Eastwood's hallowed career.
    • 88 Metascore
    • 100 Michael Phillips
    It's a very small piece, working in a deceptively casual storytelling style. But it's my favorite music film since "Stop Making Sense," and it's more emotionally satisfying than any of the Broadway-to-Hollywood adaptations made in the last 20 years.
    • 88 Metascore
    • 88 Michael Phillips
    The filmmaker's documentary training pays off in detail after detail.
    • 88 Metascore
    • 100 Michael Phillips
    Whiplash is true to its title. It throws you around with impunity, yet Chazelle exerts tight, exacting control over his increasingly feverish and often weirdly comic melodrama.
    • 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.
    • 88 Metascore
    • 100 Michael Phillips
    I love it, not simply because I love Chekhov or because I've loved so much of Ceylan's earlier work. I love it because the director, having come into his own as a master international filmmaker years ago, gives us so much to see and think about, so many astringent observations about life's compromises and longings.
    • 88 Metascore
    • 88 Michael Phillips
    Even with its limitations it's one of the necessary films of 2013.

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