Michael Phillips

Select another critic »
For 1,742 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 Sugar
Lowest review score: 0 Chappie
Score distribution:
1742 movie reviews
    • 82 Metascore
    • 88 Michael Phillips
    Michael Clayton is a here’s-how-it-happened drama, cleverly but not over-elaborately structured.
    • 82 Metascore
    • 75 Michael Phillips
    The Spectacular Now is rare: a coming-of-age movie featuring a teenage couple about whom you actually give a rip.
    • 82 Metascore
    • 100 Michael Phillips
    This is one of the real finds of 2008.
    • 82 Metascore
    • 88 Michael Phillips
    The main thing with Cedar's film, I think, is to approach it not as a farce, not as a drama, not as a mystery, not as any genre in particular. It's a comic nightmare, in the vein of the Coen brothers' "A Serious Man," and Cedar proves masterly at playing the stakes for real.
    • 82 Metascore
    • 63 Michael Phillips
    The movie, a formidable technical and design achievement, has everything going for it except a sense of Jobs' inner life.
    • 82 Metascore
    • 88 Michael Phillips
    It all flows from the shum. The man's musical and political influence was no illusion.
    • 82 Metascore
    • 88 Michael Phillips
    Haneke’s vision is gripping. The craftsmanship, classically shaped narrative and icy visual beauty cannot be denied.
    • 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.
    • 82 Metascore
    • 88 Michael Phillips
    Does Kaurismaki believe in his own fairy tale? The movie, a humble delight, suggests the answer is yes.
    • 82 Metascore
    • 100 Michael Phillips
    Sensational, grandly sinister and not for the kids, The Dark Knight elevates pulp to a very high level.
    • 82 Metascore
    • 88 Michael Phillips
    It's a lot. But if you're at all inclined, it's just right.
    • 82 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.
    • 82 Metascore
    • 88 Michael Phillips
    An exorcism movie for the rest of us, the gripping German drama Requiem contains not a single special effect. It doesn't need one. It has terrific actors fully invested in a casual-seeming, docudramatic brand of storytelling, notably Sandra Hueller.
    • 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.
    • 82 Metascore
    • 100 Michael Phillips
    The wondrous cinematography is by Gokhan Tiryaki. It is not an easy picture. Not many masterpieces are.
    • 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.
    • 82 Metascore
    • 88 Michael Phillips
    An unusually strong crime thriller, Eastern Promises comes from director David Cronenberg, a meticulous old-school craftsman of a type that is becoming increasingly rare.
    • 82 Metascore
    • 75 Michael Phillips
    Sicario doesn't fall apart in its second half, exactly, but it does settle for less than it should.
    • 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.
    • 82 Metascore
    • 88 Michael Phillips
    Remarkable documentary filmmaking, unflinching and full of unlikely grace.
    • 81 Metascore
    • 75 Michael Phillips
    In the scenes between mother and daughter in their apartment, the world outside no longer judging every action, new worlds open up. And therein lies the cinema's role in our lives: It reveals what is concealed to others.
    • 81 Metascore
    • 75 Michael Phillips
    Shot under gray skies and in artful shadows by cinematographer Bradford Young, scored to wickedly disorienting music by Oscar-nominated "Sicario" composer Johann Johannsson, Arrival will cast a spell on some while merely discombobulating others. Right there, I'd say that indicates it's worth seeing.
    • 81 Metascore
    • 88 Michael Phillips
    Ellen Page is key to its success, as much as Cody, or director Jason Reitman.
    • 81 Metascore
    • 75 Michael Phillips
    It's Williams you never question, who makes every detail and close-up and impulse natural. She's spectacularly good.
    • 81 Metascore
    • 75 Michael Phillips
    In Top Five, you sense Rock trying to load all these disparate talents onto a conventional romantic-comedy structure. It's a close call, but it holds.
    • 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.
    • 81 Metascore
    • 63 Michael Phillips
    Katyn will not join Wajda's list of masterworks. In its final flashback, however, when we're taken back to the forest and the details of what really happened, we see what we must see, the clear-eyed way we should see it.
    • 81 Metascore
    • 75 Michael Phillips
    Twenty minutes in, Hardy notwithstanding, you might be tempted to bail on Locke. Don't.
    • 81 Metascore
    • 88 Michael Phillips
    The film is an anomaly — a confident, slightly square, highly satisfying example of old-school Hollywood craftsmanship, starring a major movie star brandishing a briefcase, and a handkerchief, rather than a pistol.
    • 81 Metascore
    • 75 Michael Phillips
    Its dramatic vexations are at war with Denis' prodigious visual skill. And the fight, ultimately, rewards the viewer.

Top Trailers