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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    • 64 Metascore
    • 20 Keith Phipps
    He Got Game
    There's not a relationship in He Got Game that feels right, especially the one between Washington and Allen, and if that doesn't work, neither does the film.
    • 62 Metascore
    • 50 Keith Phipps
    The Yellow Handkerchief
    It’s nice to see a film unafraid to be quiet and sensitive, but one good gust of coastal breeze would blow this one away.
    • 97 Metascore
    • 100 Keith Phipps
    American Graffiti
    A funny, touching, nearly cliché-free, and thoroughly considered evocation of a time, place, and state of mind. Released just 11 years after the events it depicts (it usually takes about 20 years for nostalgia to set in), the film both captures the enormous societal changes between the early '60s and early '70s and winningly dramatizes the lives of its characters.
    • 63 Metascore
    • 83 Keith Phipps
    Wild Style
    The story of a much-admired graffiti artist who is tempted by the possibility of mainstream success, Wild Style is extremely clumsy as a drama, with awkward dialogue and even more awkward acting. However, as a showcase for many aspects of the incredible outpouring of creativity that took place in New York during the late '70s and early '80s, it can't be beat.
    • 64 Metascore
    • 70 Keith Phipps
    One Swallow Brought Spring
    Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.
    • 59 Metascore
    • 70 Keith Phipps
    Night of the Comet
    Night Of The Comet borrows freely from everything from The Omega Man to Romero’s zombie films to Repo Man, but it never borrows so heavily as to feel like a rip-off of anything.
    • 69 Metascore
    • 70 Keith Phipps
    Monsieur Ibrahim
    Adapting a novel by Eric-Emmanuel Schmitt, François Dupeyron uses handheld cameras and some jarring edits, but, prostitutes and all, this is storybook material: heartfelt, pleasant, cuddly, and a little too insubstantial to stick in the mind for long.
    • 56 Metascore
    • 80 Keith Phipps
    The Ladykillers
    Already as dark as London soot, the comedy hardly needed work to bring it in line with the Coen brothers' sensibility, but the remake moves to a beat of its own, one unexpectedly in sync with the gospel music dominating its soundtrack.
    • 15 Metascore
    • 20 Keith Phipps
    The Cookout
    Gives virtually every cast member a shot at humiliation.
    • 99 Metascore
    • 100 Keith Phipps
    Playtime
    Tati's most elaborate film, Playtime stands as his masterpiece, an awe-inspiring work of intricate choreography with a heart to match its technical expertise.
    • 51 Metascore
    • 40 Keith Phipps
    Saint Ralph
    Scott can invest just about any scene with heft and intelligence, but neither the material nor his co-star give him much help.
    • 75 Metascore
    • 80 Keith Phipps
    Lilo & Stitch
    With its sharp wit and its portrayal of how broken families sometimes fit back together, Lilo would make a fine summer double feature alongside "About A Boy," another film that stays funny while dancing around a tiny abyss.
    • 68 Metascore
    • 40 Keith Phipps
    Babe: Pig in the City
    Maybe it could have worked had the movie found a story worth telling, but it simply drifts from depressing incident to depressing incident, resembling the nightmare of an adorable but deeply emotionally scarred pig. Anyone with fond memories of Babe ought to avoid this mirthless, dispiriting sequel.
    • 56 Metascore
    • 58 Keith Phipps
    Extreme Measures
    While Extreme Measures is competently directed by Michael Apted, and is never really boring, it's nothing we haven't seen before. And though it attempts to make an important point about the value of life, by the end viewers will only be reminded that they are two fruitless hours closer to the grave.
    • 73 Metascore
    • 75 Keith Phipps
    Gran Torino
    Eastwood directs with his usual relaxed pace and bursts of intensity, a style that's pleasing to watch--and which, also as usual, never fully compensates for any shortcomings of the script handed to him.
    • 80 Metascore
    • 80 Keith Phipps
    Promises
    "I knew the children here had something to say," Goldberg says in voiceover early in the film. That statement may sound slightly maudlin, but the film that follows is anything but.
    • tbd Metascore
    • 50 Keith Phipps
    Ghost Chase
    For all the difficulties facing young filmmakers attempting to make it in Hollywood, many services are designed to aid their struggle. Film schools, for example, can help young visionaries hone their technical skills and expand their knowledge of film history. But more helpful than anything, if Ghost Chase is to be believed, are the ghosts of long-dead butlers who take the form of midget extraterrestrials.
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