For 1,158 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Neil Young: Heart of Gold
Lowest review score: 0 The Avengers
Score distribution:
1158 movie reviews
    • 67 Metascore
    • 70 Keith Phipps
    Whannell commits to making a science fiction film plugged into the moment in which we’re living, and making grim projections of what might be around the corner.
    • 49 Metascore
    • 40 Keith Phipps
    In retelling a story whose political implications could still start a screaming match decades later, it takes a mushy approach seemingly determined to offend no one, or at least offend no one all that much or for very long.
    • 75 Metascore
    • 80 Keith Phipps
    Finley’s debut is an odd, hypnotically compelling film filled with dark laughs and unanswered questions.
    • 48 Metascore
    • 60 Keith Phipps
    Though it doesn’t come close to touching the original, it’s not the years-late embarrassment it might have been.
    • 86 Metascore
    • 80 Keith Phipps
    The filmmaking is so strong and the scope so large it helps obscure the fairly simple moral at the heart of the script by Zvyagintesev and Oleg Negin.
    • 45 Metascore
    • 60 Keith Phipps
    Whatever he’s done in the past, Eastwood here seems most interested in paying tribute to some men who deserve the commendation — nothing more, and nothing less.
    • 86 Metascore
    • 85 Keith Phipps
    Vega’s remarkable as Marina. Her character never opens up to anyone, but Vega skillfully conveys an inner life governed by sadness and a will for self-preservation.
    • 75 Metascore
    • 85 Keith Phipps
    The results suggest that Ponoc was guided by a single principle: If Studio Ghibli won’t make Studio Ghibli films anymore, then we will. Which is to say Mary and the With’s Flower is delightful — a visually stunning fairy tale filled with whimsical ideas and warmly realized characters — but also familiar.
    • 65 Metascore
    • 75 Keith Phipps
    From the moment Katja returns to find her life shattered, Akin seldom lets the tension subside, and Kruger’s performance matches the intensity at every step.
    • 90 Metascore
    • 100 Keith Phipps
    Anderson has made a strange, entrancing, often darkly funny film that’s at once like nothing he’s ever made and one no one else could make.
    • 83 Metascore
    • 95 Keith Phipps
    There’s not a wasted moment as The Post packs what could be an overwhelming amount of information into a story that ultimately reveals itself as a Capra-esque morality play with deep roots in recent history and a style that sometimes calls back to the paranoid thrillers of the 1970s.
    • 75 Metascore
    • 80 Keith Phipps
    It’s a film that remembers how awful it can be to grow up, and that even those who survive it usually don’t get out without taking a few scars.
    • 80 Metascore
    • 85 Keith Phipps
    It’s a wistful, unabashedly minor swan song that fittingly casts Stanton as a man recognizing he’s much closer to the end of his life than the beginning — and wondering what it all means.
    • 77 Metascore
    • 80 Keith Phipps
    Flanagan has a command of how to make the most of a single location, and Gerald’s Game often captures a sense of mounting tension and fear through small touches like the play of light through the window signaling the end of another day with no promise of a way out.
    • 73 Metascore
    • 85 Keith Phipps
    The humanity behind The Square‘s jabs save it from seeming nihilistic but they also implicate everyone watching. The film seems less nasty for having such a well-developed protagonist, but also that much more squirm-inducing for anyone who recognizes a bit too much of themselves in Christian’s unexamined attitudes.
    • 72 Metascore
    • 80 Keith Phipps
    Blade of the Immortal raises some compelling questions: What does it mean to be virtuous in a world that doesn’t value virtue? Is there any way to shuffle off the burden of past sins? When does immortality become a curse?
    • 72 Metascore
    • 80 Keith Phipps
    It’s a film about lonely people in an isolated part of the world, the sort of place where people go to disappear and sometimes slip further away than they’d intended. It’s also one of the most suspenseful and uncompromising noirs of recent years.
    • 85 Metascore
    • 80 Keith Phipps
    Amy
    She was, the documentary argues, a complex artist, one of awe-inspiring talent and many frustrating contradictions, and one who deserved better than to become just another punchline on her way to the grave. Kapadia provides a heartbreaking reminder of what we lost when we lost her.
    • 38 Metascore
    • 40 Keith Phipps
    The setpieces, in addition to mostly rehashing better scenes from earlier films, feel thrown together to serve the effects, and the effects look far less astonishing than anything in Cameron’s first two films.
    • 73 Metascore
    • 70 Keith Phipps
    The director’s observant approach to the material helps pave over the frustrations.
    • 69 Metascore
    • 50 Keith Phipps
    It’s fun to watch the decades go by and the fashions change, but though Fresh Dressed takes its subject seriously, it ends up feeling superficial.
    • 37 Metascore
    • 20 Keith Phipps
    There’s little in Burying The Ex to suggest it’s a Dante movie at all, given how far it’s removed from the smart, exciting films he used to make. Maybe it’s best if everyone just pretends he wasn’t involved.
    • 72 Metascore
    • 60 Keith Phipps
    Happily, what Dope does well, it does extremely well—namely letting Malcolm, Diggy, and Jib hang out together and navigate the world on their own terms. All three leads are charming, and together, they convey a real sense of camaraderie, the kind that only develop between misfits who find each other.
    • 56 Metascore
    • 40 Keith Phipps
    Pacino never goes too big, as he’s had the tendency to do for a while, but he also never goes deep. Manglehorn wanders and rambles, and the movie follows along dutifully, even though there isn’t much to see along the way.
    • 52 Metascore
    • 70 Keith Phipps
    The characters occupy homes where nothing is ever out of order, but Barthes creates a sense of unease that never lets up, and a suggestion of chaos underlying all the neatly arranged possessions in the Bovary home.
    • 59 Metascore
    • 60 Keith Phipps
    It’s fun, but it’s ultimately more of the same in brand-new packaging.
    • 52 Metascore
    • 60 Keith Phipps
    Its pleasures are familiar and its frightening bits less frightening than before, but Insidious: Chapter 3 still does right by a series that’s served as proof that, in horror, less can be more.
    • 80 Metascore
    • 70 Keith Phipps
    An earnest attempt to convey the essential truth of Wilson’s extraordinary career and difficult life animates both halves of the film, and both performances.
    • 40 Metascore
    • 40 Keith Phipps
    Whatever Crowe’s ambitions, Aloha feels like a tropical transplant of past work, and an unfortunate demonstration of the law of diminishing returns.
    • 58 Metascore
    • 50 Keith Phipps
    What almost rescues the film is Arterton’s performance.

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