Michael Phillips

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For 1,989 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Son of Saul
Lowest review score: 0 That's My Boy
Score distribution:
1989 movie reviews
    • tbd Metascore
    • 50 Michael Phillips
    It’s a choppy, frustrating affair, periodically bailed out by some very good actors.
    • 91 Metascore
    • 88 Michael Phillips
    Kulig comes with everything the role of this sullen, reckless siren demands, and then some.
    • 82 Metascore
    • 88 Michael Phillips
    It’s full of life, guided by first-time screen performers portraying versions of themselves. And because Esparza’s a dramatist, not a melodramatist, the experience of watching Life and Nothing More becomes truth, and nothing less.
    • 42 Metascore
    • 50 Michael Phillips
    Way back in “Unbreakable,” Jackson’s Mr. Glass bemoaned how comics superheroes “got chewed up in the commercial machine.” Glass proves it.
    • 41 Metascore
    • 25 Michael Phillips
    A tedious picture about a remorseless serial killer, played by Matt Dillon.
    • 61 Metascore
    • 50 Michael Phillips
    A sleekly fashioned true-crime story without much on its mind.
    • 90 Metascore
    • 88 Michael Phillips
    It's a crazy amount of ground to cover, but only rarely does 13th sacrifice clarity for cinematic energy.
    • 87 Metascore
    • 88 Michael Phillips
    What Baldwin does with words, Jenkins does visually. It’s what Blanche DuBois says in “A Streetcar Named Desire”: “I don’t want realism. I want magic!” In “Beale Street” that magic can be crushing, and soul-stirring, sometimes simultaneously. Jenkins’ epilogue, not found in the novel, may go a little far in its embrace of the affirmative. But that’s hardly the worst thing you can say about any film, let alone one as lovely as this one.
    • 61 Metascore
    • 50 Michael Phillips
    What Vice says, and how it says it, will have half its audience nodding in angry, contemptuous agreement, and the other half calling it a liberal smear. In other words it’s like everything else in the culture right now.
    • 47 Metascore
    • 50 Michael Phillips
    Good cast, nearly hopeless script.
    • 40 Metascore
    • 38 Michael Phillips
    Welcome to Marwen is a misjudgment only a first-rate filmmaker could make.
    • 66 Metascore
    • 63 Michael Phillips
    The original “Mary Poppins” was exuberant, fueled by terrific Sherman brothers songs. Mary Poppins Returns is often just pushy.
    • 58 Metascore
    • 38 Michael Phillips
    It brings me no joy to relay this: From an irresistible “tell me more!” of a true story, Eastwood and his “Gran Torino” screenwriter Nick Schenk have made a movie that feels dodgy and false at every turn.
    • 68 Metascore
    • 75 Michael Phillips
    This addiction drama is primarily a showcase for its superb leading performers, and in its compressed time frame (24 hours around Christmas) it feels like a well-made play more than a fully amplified feature film. The acting is enough, though.
    • 68 Metascore
    • 75 Michael Phillips
    Vox Lux is the sardonic yang to the sincere, heart-yanking yin of this season’s big awards fave, “A Star is Born.”
    • 55 Metascore
    • 38 Michael Phillips
    Watching this movie is like spending two hours and 27 minutes staring at a gigantic aquarium full of digital sea creatures and actors on wires, pretending to swim.
    • 87 Metascore
    • 88 Michael Phillips
    It’s zippier than “Incredibles 2,” and nearly as witty as the first “Lego Movie,” with whom it shares a very funny screenwriter, Phil Lord.
    • 96 Metascore
    • 100 Michael Phillips
    Roma gives you so much to see in each new vignette, in every individual composition, in fact, that a second viewing becomes a pleasurable necessity rather than a filmgoing luxury.
    • 63 Metascore
    • 50 Michael Phillips
    The results take neither the high road nor the low road, settling instead for an oddly bland middle course.
    • 71 Metascore
    • 88 Michael Phillips
    Throughout Becoming Astrid, August acquits herself brilliantly; the woman we come to know is a tangle of impulses and qualities, and feels vibrantly alive.
    • 90 Metascore
    • 88 Michael Phillips
    A languorous, catlike psychological puzzle from one of the essential international masters, Lee Chang-dong.
    • 90 Metascore
    • 100 Michael Phillips
    The result is a splendid black comedy that marks a stylistic leap for its director. Second only this year to the upcoming “Roma,” it’s a reminder of how the movies can imagine a highly specific yet deeply idiosyncratic vision of the past.
    • 71 Metascore
    • 63 Michael Phillips
    The Great Buster, filmmaker Peter Bogdanovich’s fond if slight appreciation of Buster Keaton, serves as the centerpiece of the Gene Siskel Film Center’s weeklong “Best of Buster” mini-retrospective starting Friday.
    • 78 Metascore
    • 88 Michael Phillips
    Dafoe never begs for attention or sympathy; he’s there, like the seasoned, craftsmanlike actor he is, as a conduit and a sort of medium.
    • 71 Metascore
    • 75 Michael Phillips
    A weirder and more interesting movie than “Wreck-It Ralph,” Ralph Breaks the Internet tells a lie right in its title because isn’t that thing broken already?
    • 66 Metascore
    • 63 Michael Phillips
    By the end, the movie has become a shameless and, yes, effective ode to fathers and sons everywhere.
    • 70 Metascore
    • 63 Michael Phillips
    A crowd-pleasing hit at the Toronto International Film Festival in September, the movie may not be accurate history (welcome to the movies!). It may not even be particularly interested in one of its two main characters, for various reasons.
    • 79 Metascore
    • 50 Michael Phillips
    It’s a strange, grimly comic collection offering many grotesque sight gags, the occasional moment of seriousness and a general wash of melancholic, photogenic, elegiac Old West atmosphere. I liked the least jokey tale the best; by the time it came along, in the fifth-out-of-six slot, I’d had it with the kidding.
    • 87 Metascore
    • 88 Michael Phillips
    Museo is the work of a genuinely creative directorial talent, and the early family scenes, richly detailed and shrewdly acted, provide just the right emotional context for this squabbling, indecisive gang of two.
    • 84 Metascore
    • 100 Michael Phillips
    For all its cynicism, the movie floats on a darkly exhilarating brand of escapism. It’s one of the year’s highlights in any genre.

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