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 5.1 points lower than other critics. (0-100 point scale)

Keith Phipps' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 City of God
Lowest review score: 0 Fathers' Day
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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    • 49 Metascore
    • 58 Keith Phipps
    People Like Us
    Viewers who dislike movies in which all drama hinges on one character withholding information from another for no reason beyond the need to keep the plot chugging along should stay far away from People Like Us. The film does have its charms, but getting to them means seeing past a Buick-sized contrivance.
    • 72 Metascore
    • 75 Keith Phipps
    Magic Mike
    Like "The Girlfriend Experience," Magic Mike doubles as an of-the-moment film about life in a down economy, so much so that it would play like a bait-and-switch if it didn't just as thoroughly deliver as a movie about stripping.
    • 72 Metascore
    • 58 Keith Phipps
    Your Sister's Sister
    This time out, Shelton seems to be playing the part of someone who doesn't know how to finish what she started.
    • 31 Metascore
    • 25 Keith Phipps
    High School
    Adrien Brody delivers a colorful turn as a braided-and-tatted drug kingpin who thinks his pet toad talks to him (funny animal, check!), but High School is otherwise a tedious sludge through the same gray corridors where the same old gags wait around every turn.
    • 14 Metascore
    • 25 Keith Phipps
    A Little Bit of Heaven
    Bravely or stupidly, both A Little Bit Of Heaven and its heroine charge on as if the introduction of terminal cancer didn't change things that much.
    • 62 Metascore
    • 67 Keith Phipps
    The Best Exotic Marigold Hotel
    Mostly The Best Exotic Marigold Hotel stays focused on the cutesy, low-stakes personal journeys of its English characters, characters it would be hard to care about if they weren't brought to life by actors who give the film substance and gravity it doesn't otherwise know how to earn.
    • 69 Metascore
    • 91 Keith Phipps
    The Avengers
    Tasked with meeting the many requirements necessary for any Avengers movie to work, Whedon checks off all the boxes, then sets about creating new expectations for what a big superhero movie ought to be.
    • 82 Metascore
    • 75 Keith Phipps
    Marley
    That's a lot for any film to unpack, and "The Last King Of Scotland" director Kevin MacDonald deserves a lot of credit simply for keeping the narrative coherent.
    • 39 Metascore
    • 50 Keith Phipps
    The Lucky One
    As a pretty, low-stakes bayou romance The Lucky One works well enough. When asked to carry any kind of dramatic weight, however, it collapses.
    • 72 Metascore
    • 91 Keith Phipps
    The Cabin in the Woods
    It's an exercise in metafiction that, while providing grisly fun, never distances viewers. And it's entertaining, while asking the same question of viewers and characters alike: Why come to a place you knew all along was going to be so dark and dangerous?
    • 49 Metascore
    • 50 Keith Phipps
    American Reunion
    The film alternates sloppily executed sex gags with sentiment, as did its predecessors. And it's all just slightly more endearing and amusing than it has any right to be.
    • 58 Metascore
    • 50 Keith Phipps
    Salmon Fishing in the Yemen
    In spite of a promising start, an unconventional setup, attractive photography, and game lead performances from Ewan McGregor and Emily Blunt, Salmon Fishing quickly turns into exactly the sort of wet cardboard box of a movie its title suggests.
    • 49 Metascore
    • 42 Keith Phipps
    Silent House
    There's probably a graduate thesis to be drawn from this, about what audiences want from horror films, and ways to make viewers uncomfortable with their own voyeuristic desires, but that doesn't make the thrills any less sour, or the end any less exploitative. (Or worse, dull.)
    • 51 Metascore
    • 75 Keith Phipps
    John Carter
    Rather than trying to overwhelm viewers by overloading the senses, John Carter's effects strive to create something new using as their foundation a book that's fired imaginations for the past century.
    • 46 Metascore
    • 42 Keith Phipps
    Project X
    It's crude in every sense: The film looks like shit, the characters are boors, and it's as sloppily put-together as the home movie it pretends to be. Project X's commitment to its crudity almost redeems it, though.
    • 40 Metascore
    • 25 Keith Phipps
    Act of Valor
    It's thin material, to say the least, and manipulative to boot, putting women, children, and a SEAL father-to-be in jeopardy in ways more about servicing cheap thrills than any larger point about the perilous state of the world in 2012.
    • 43 Metascore
    • 50 Keith Phipps
    The Vow
    It's unashamedly escapist, but a turn for the serious as The Vow nears the finish line only underscores its essential silliness and what a poor job the film has done making it seem like its characters need each other for reasons beyond looking good together.
    • 62 Metascore
    • 50 Keith Phipps
    The Woman in Black
    Without Radcliffe at the center looking scared out of his wits, The Woman In Black would seem even slighter than it already does.
    • 79 Metascore
    • 91 Keith Phipps
    Coriolanus
    As played by Ralph Fiennes in his own cinematic adaptation of the play, Coriolanus' military genius makes him a figure of awe, but it's his near-absence of empathy that makes him terrifying.
    • 46 Metascore
    • 42 Keith Phipps
    Red Tails
    The aerial sequences look an awful lot like X-wing-versus-TIE-fighter battles and the effects have the same not-quite-solid feel of the Star Wars prequels. When the heroes crash, they go up in blazes of digital glory that seem just as artificial as the plotting that brought them to their fates.
    • 72 Metascore
    • 100 Keith Phipps
    War Horse
    To create his disarmingly earnest film, Spielberg draws from the past. Its tone is humanistic and its technique classic.
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