Keith Phipps

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The A.V. Club, The Dissolve, The Verge, UPROXX
For 1,277 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 5 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Sweeney Todd: The Demon Barber of Fleet Street
Lowest review score: 0 A Life Less Ordinary
Score distribution:
  1. Positive: 625 out of 1277
  2. Mixed: 463 out of 1277
  3. Negative: 189 out of 1277
1277 movie reviews
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    • 63 Metascore
    • 60 Keith Phipps
    What's Up, Tiger Lily?
    When it does work, it's very funny, and worth a look both as an example of Allen's still-developing talent and—thanks to The Lovin' Spoonful—as the source of one of the greatest rock 'n' roll title songs ever to come out of a decade filled with excellent rock 'n' roll title songs.
    • 51 Metascore
    • 75 Keith Phipps
    The Night Listener
    Williams delivers a solid, twinkle-free (though closed-off) performance, but the film as a whole can't decide what it wants to be.
    • 92 Metascore
    • 90 Keith Phipps
    Secrets & Lies
    There's not a weak performance in Secrets And Lies, a fact made more notable by the seeming ease with which the cast performs as an ensemble.
    • 49 Metascore
    • 70 Keith Phipps
    Phase IV
    In form, Phase IV isn’t that different from monster movies of old, though the ants never grow to monstrous size. In execution, it’s much more striking, offering a study in contrasts between ants and humans, and one that doesn’t always reflect favorably on the humans.
    • 56 Metascore
    • 67 Keith Phipps
    Leatherheads
    Too much of Leatherheads feels like studied motions, and its charms never plaster over a story that takes forever to get going, and doesn't go too far once it does.
    • 61 Metascore
    • 58 Keith Phipps
    Secretariat
    The film ultimately feels like a well-trod journey to a familiar destination with not enough wonder along the way.
    • 57 Metascore
    • 40 Keith Phipps
    My Wife Is an Actress
    Sadly, that thin premise snaps after a while, and when Wife takes a serious turn, it becomes apparent how little the director has to say.
    • 64 Metascore
    • 75 Keith Phipps
    The Notorious Bettie Page
    Mol nails it, in a performance that should earn her a comeback on a Heath Ledger-like scale.
    • 39 Metascore
    • 42 Keith Phipps
    Life as We Know It
    Pity any poor kid stuck in a house like that. Pity, too, anyone who has to stop by for a visit.
    • 65 Metascore
    • 42 Keith Phipps
    Cadillac Records
    Martin attempts to present the whole oversized Chess story, but instead winds up reducing the lives and art that give it shape.
    • 53 Metascore
    • 50 Keith Phipps
    A Good Woman
    The trick to staging Wilde is to hint at the gravity beneath the witticisms. A Good Woman barely even gets the witticisms out, though it does contain Wilde's line about people being either tedious or charming.
    • 80 Metascore
    • 83 Keith Phipps
    Bring Me the Head of Alfredo Garcia
    The honesty behind Garcia's queasiest moments gives the film its pull.
    • 66 Metascore
    • 10 Keith Phipps
    Ever After
    It's... directed by Andy Tennant ("It Takes Two") with all the flair of an episode of "7th Heaven", making it that much more worth avoiding.
    • 71 Metascore
    • 80 Keith Phipps
    Manito
    Eason's twist of fate and too-sudden ending seems as rooted in Washington Heights as the music that pours from the neighborhood's car windows, the smoke that billows from its late-night eateries, and the stoic resignation inscribed on its inhabitants' faces.
    • 48 Metascore
    • 40 Keith Phipps
    Prey for Rock & Roll
    An actress of magnetizing screen presence whose inability to land choice roles can only be attributed to her post-TRL age, Gershon easily identifies with her character, giving her performance an edge that this lazy, punked-up melodrama otherwise lacks.
    • 67 Metascore
    • 70 Keith Phipps
    Young Adam
    In this long, slow fall from grace, unceremonious nudity and half-hearted sex begin to look like a mockery of a paradise lost.
    • 46 Metascore
    • 40 Keith Phipps
    Breakin' All the Rules
    Written and directed by Daniel Taplitz, Breakin' has a hard time building up steam and an even harder time distinguishing itself from any number of UPN sitcoms.
    • 64 Metascore
    • 70 Keith Phipps
    Robots
    The amiable but thin comedy Robots does have a little more going on, but not quite enough to make a difference, although it looks good enough to distract viewers from that fact for a while.
    • 51 Metascore
    • 60 Keith Phipps
    Asylum
    Mackenzie's film could almost use one or two lurid touches in place of its stately distance. Then again, a more stylized approach might have allowed less room for Richardson, whose unsparing performance makes other elements almost irrelevant.
    • 49 Metascore
    • 50 Keith Phipps
    The Flying Scotsman
    There's real triumph to Obree's story, and real adversity, too, but the film contents itself with the pretend versions of both.
    • 43 Metascore
    • 67 Keith Phipps
    Hot Rod
    Hot Rod keeps a sweet tone that's filled with affection for its characters, and enough laughs to become this summer's most mildly recommendable comedy.
    • 25 Metascore
    • 0 Keith Phipps
    The Ten Commandments
    It fails on every conceivable level.
    • 67 Metascore
    • 67 Keith Phipps
    Nowhere Boy
    It's a tender, but sometimes untended, portrait of the artist as a young man-and occasionally as a young asshole-that's handsome, dutiful, and finally, a little dull.
    • 34 Metascore
    • 33 Keith Phipps
    The Final Conflict
    Director Graham Baker has little gift for atmosphere, and apart from one inspired sequence, I suspect I'll forget every aspect of this movie in a couple of days.
    • 39 Metascore
    • 30 Keith Phipps
    Bringing Down the House
    Yet another comedy that suggests someone should take Martin aside and remind him that he can do better.
    • 66 Metascore
    • 70 Keith Phipps
    Something's Gotta Give
    Mostly, it's just a pleasure to watch Keaton and Nicholson learning new steps in an old dance, stumbling to grab at happiness before it's too late.
    • 33 Metascore
    • 30 Keith Phipps
    Catch That Kid
    The film combines dour heroes with a drab look, and the string of "Don't try this at home"-style stunts should underwhelm even viewers too young for James Bond or XXX.
    • 75 Metascore
    • 70 Keith Phipps
    The Blind Swordsman: Zatoichi
    Like Ang Lee's "Hulk," it's a fusion of arthouse and multiplex instincts, and though it seems unlikely to satisfy anyone, it's just as unlikely that anyone who sees it will forget it soon.
    • 66 Metascore
    • 40 Keith Phipps
    Stuart Little 2
    Never becomes more than a just-acceptable kiddie time-filler.
    • 64 Metascore
    • 50 Keith Phipps
    Fire
    Fire is designed to provoke questions and spark debate. Mission accomplished, but, despite a heartfelt tone that pervades its every moment, it doesn't do much else.
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