Michael Phillips

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For 1,914 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 2.4 points higher than other critics. (0-100 point scale)

Michael Phillips' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Once Upon a Time in Anatolia
Lowest review score: 0 Vacation
Score distribution:
1914 movie reviews
    • 91 Metascore
    • 88 Michael Phillips
    As Assayas himself has pointed out, the passing years have magically transformed a movie made in 1994 into a seeming product of post-1968 cultural turbulence and unresolved matters of the heart. It feels honest, in other words.
    • 56 Metascore
    • 38 Michael Phillips
    Tag
    I kind of hate the movie’s mixture of bro comedy, sadistic practical jokes (don’t call it slapstick) and last-ditch pull for the heartstrings.
    • 52 Metascore
    • 63 Michael Phillips
    If you can forget about the movie’s general moral vacuousness, the extremely uneven digital photography and the slavish devotion to designer assault weapons...the screenplay by “Watchmen” scribe Alex Tse keeps the shifting alliances and power plays in clever circulation.
    • 80 Metascore
    • 63 Michael Phillips
    Bird’s rather strenuous sequel lands more in the camp of “Cars 2” and “Monsters University,” mistaking calamity and mayhem for real excitement and wit.
    • 85 Metascore
    • 88 Michael Phillips
    Without undue fawning, Neville’s moving portrait does a lovely job of presenting Rogers as two people, the public figure and the private one, sharing the same closet full of zip-up sweaters.
    • 57 Metascore
    • 75 Michael Phillips
    It’s essentially the Hotel Earle from “Barton Fink,” augmented by the latest in robotic surgical techniques for bullet extraction.
    • 61 Metascore
    • 50 Michael Phillips
    It’s smooth, and far from inept. But it isn’t much fun. That’s all you want from a certain kind of heist picture, isn’t it? Fun?
    • 87 Metascore
    • 88 Michael Phillips
    Above all, there’s Collette, who sometimes can overdeliver a dramatic moment or an aghast reaction, but in this storytelling context she’s fabulous. It’s a fierce performance with a human pulse, racing one minute, dead still the next.
    • 65 Metascore
    • 63 Michael Phillips
    Whannell is learning how forward motion can allow a filmmaker to get away with some pretty outlandish brutality. I wish the talk-dependent sequences weren’t so foreshadowed and clunky; only Gabriel transcends them.
    • 56 Metascore
    • 63 Michael Phillips
    They never quite got the script right, but director Kormakur toggles well enough. And Woodley sees it through.
    • 62 Metascore
    • 50 Michael Phillips
    The ending is very different from the novella, and I was surprised at its shameless, ruthless emotional effectiveness.
    • 85 Metascore
    • 88 Michael Phillips
    An act of spiritual inquiry, a coolly assured example of cinematic scholarship in subtly deployed motion and one of the strongest pictures of 2018.
    • 59 Metascore
    • 63 Michael Phillips
    When it works it’s enjoyable; when it doesn’t, it falls into a generic sort of bustle, missing the darker, more troubling layers underneath.
    • 62 Metascore
    • 75 Michael Phillips
    Alden Ehrenreich resembles a young, somewhat graver Robert Wagner, though he’s a better actor than the young Robert Wagner was. Ehrenreich’s contained, methodical brand of swagger matches up pretty well with the Han Solo we know from the ’77-’83 Harrison Ford edition.
    • 66 Metascore
    • 75 Michael Phillips
    Deadpool 2 is just like “Deadpool” only more so. It’s actually a fair bit better — funnier, more inventive than the 2016 smash...and more consistent in its chosen tone and style: ultraviolent screwball comedy.
    • 79 Metascore
    • 88 Michael Phillips
    The film itself isn’t dorky in the least. It’s an elegant and witty rumination on one woman’s quest for romantic fire.
    • 46 Metascore
    • 63 Michael Phillips
    The movie’s not as slapstick-dependent as advertised. It’s a less coarse and more heartfelt project than McCarthy’s disappointing headliner gigs, such as “Tammy” and “The Boss.” (The Paul Feig-directed comedies “Bridesmaids,” “The Heat” and “Spy” are far better.) The new movie renders matters of directorial finesse and comic technique essentially irrelevant.
    • 80 Metascore
    • 88 Michael Phillips
    Strange is a word that pops up frequently in Claire’s Camera, a lovely doodle and the latest from South Korean writer-director Hong Sang-soo. The strangeness extends to and suffuses most of the human interactions, which never go entirely smoothly.
    • 74 Metascore
    • 75 Michael Phillips
    Disobedience sometimes wants for rougher edges, and a fuller characterization for Weisz to play. But there’s real satisfaction in watching her, McAdams and Nivola inhabit a fraught and complicated relationship.
    • 75 Metascore
    • 63 Michael Phillips
    At its spiky, intermittent best, Tully is the best work Cody has done in the conventional feature format since “Juno.” And yet I’m all over the place on it.
    • 92 Metascore
    • 100 Michael Phillips
    Subtle, elemental and powerfully beautiful, writer-director Chloe Zhao’s The Rider is the Western of the new century, and the most enveloping film experience I’ve had this year.
    • 68 Metascore
    • 50 Michael Phillips
    The film has its momentary diversions, a few good throwaway jokes amid a tremendous amount of PG-13 maiming and destruction.
    • 47 Metascore
    • 50 Michael Phillips
    It’s just not funny or fresh enough, and that has everything to do with the material and how it’s handled visually, and nothing to do with the people on the screen.
    • 88 Metascore
    • 88 Michael Phillips
    Zama is a patient, delicately strange film chronicling an increasingly impatient man and a destiny beyond his control.
    • 80 Metascore
    • 88 Michael Phillips
    In the best way, this is a tough movie to shake, and while it believes in the kindness of strangers, Lean on Pete never forgets every other human failing, impulse and circumstance.
    • 84 Metascore
    • 88 Michael Phillips
    The story lurches forward in spasms. We’re fully in the head space of a messed-up, hollowed-out psyche. Backed by Jonny Greenwood’s sinister wash of a musical score, You Were Never Really Here feels like a waking nightmare.
    • 45 Metascore
    • 38 Michael Phillips
    Rampage is a drag.
    • 69 Metascore
    • 75 Michael Phillips
    A little of Barinholtz goes a pretty good distance for me, but sharing scenes with Mann (who has the timing of a wizard) and blocklike Cena (funny just standing there, with his “cop haircut” and perpetually aghast reactions), he’s what the movie needs: a relaxed wildcard.
    • 67 Metascore
    • 50 Michael Phillips
    Chappaquiddick misses that target. But it’s a fairly intriguing mixture of strengths and weaknesses, a case of a sharp cast and a careful director toning up a script best described as “a good try.”
    • 82 Metascore
    • 63 Michael Phillips
    My favorite moment, an encounter between Regan and one of the monsters in a cornfield, plays with sound and image and tension, creatively. Other bits are more shameless.

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