For 619 reviews, this critic has graded:
  • 34% higher than the average critic
  • 1% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sun
Lowest review score: 20 White House Down
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 74 Metascore
    • 60 Keith Uhlich
    There's enough filmmaking talent evident throughout that you wish the journey were more satisfying overall.
    • 66 Metascore
    • 60 Keith Uhlich
    The perfectly sculpted, entirely sure-of-himself Tom ultimately seems more of a construct than a character, his carefree nature shaped almost entirely by the very wish-fulfillment clichés that the movie otherwise sidesteps.
    • 48 Metascore
    • 60 Keith Uhlich
    It's pure comic-book malarkey, adapted from a graphic novel by French artist Matz. But the skeletal plot affords Hill the opportunity to go atmospherically hog wild.
    • 75 Metascore
    • 60 Keith Uhlich
    It’s a reasonably diverting piece of work, falling somewhere between the high of "Magic Mike" (2012) and the low of "Haywire" (2011), among his recent efforts.
    • 57 Metascore
    • 60 Keith Uhlich
    A too-pat ending also spoils Rubberneck (shorter: Mommy made me do it!), though it doesn’t ruin the steely pleasures of the filmmaking.
    • 65 Metascore
    • 60 Keith Uhlich
    Though often funny, there’s a reverse narcissism in the way Karpovsky wallows in his “character’s” off-putting flaws.
    • 58 Metascore
    • 60 Keith Uhlich
    Drooling fanboys and "Buffy"-loving academics are sure to go wild — not that there’s anything wrong with that…right? Stoker is a gorgeous wank job; just prepare to hate yourself for loving it.
    • 51 Metascore
    • 60 Keith Uhlich
    So many blockbuster movies are impersonal, micromanaged hashes that Jack, with its bare minimum of craft and commitment, comparatively comes off like a diamond in the rough.
    • 44 Metascore
    • 60 Keith Uhlich
    It’s an earnest hope, to be sure, and the greatest strength of Sam Raimi’s imaginative, if highly uneven, take on L. Frank Baum’s series of children’s stories about that magical land over the rainbow is its unabashed sincerity.
    • 65 Metascore
    • 60 Keith Uhlich
    Fortunately, Roth himself proves to be a fascinating presence — soft-spoken, sharp and bearing a vague air of melancholy that offsets the surrounding adulation.
    • 57 Metascore
    • 60 Keith Uhlich
    What really matters is seeing these pretty people get put through the gory wringer, and once the unholy spirit comes calling, Evil Dead more than delivers.
    • 54 Metascore
    • 60 Keith Uhlich
    Ticking-time-bomb suspense is not Nair’s forte, so she relies on Michael Andrews’s Middle East–inflected score to do most of the heavy lifting in the present-day scenes, which feel shapeless and perfunctory.
    • 76 Metascore
    • 60 Keith Uhlich
    Mud
    Despite the best efforts of a cast that mixes unstudied newbies such as The Tree of Life’s Sheridan with Hollywood prima donnas like Reese Witherspoon (a starlet-slumming-it distraction as Mud's dim-bulb inamorata), there’s an overall clunkiness that Nichols is unable to overcome.
    • 72 Metascore
    • 60 Keith Uhlich
    Stick with the film, though, and you might find yourself strangely moved by its oddball mix of ripe melodrama, overwrought violence and regional verisimilitude.
    • 70 Metascore
    • 60 Keith Uhlich
    The Mouth’s dubious legacy and his many off-camera complications are examined with a coarse affection of which he himself would surely approve.
    • 78 Metascore
    • 60 Keith Uhlich
    The movie feels like too much of a lark. To paraphrase the play’s voice of reason, Friar Francis, it would be better if Whedon paused awhile and let his counsel sway us more.
    • 78 Metascore
    • 60 Keith Uhlich
    Loznitsa would have done better to embrace the story’s enigmas as opposed to explicate them.
    • 60 Metascore
    • 60 Keith Uhlich
    They (Bullock/McCarthy) deserve a much stronger showcase than this Laurel & Hardy Go Policin’ vehicle.
    • 62 Metascore
    • 60 Keith Uhlich
    Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.
    • 80 Metascore
    • 60 Keith Uhlich
    As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
    • 66 Metascore
    • 60 Keith Uhlich
    Smash & Grab aims to replicate the mesmeric tension of a Michael Mann thriller (the crime-cinema impresario is even explicitly referenced by one of the cops assigned to hunt down the group), though the film is so all over the place stylistically that it often seems like several different movies cut together.
    • 66 Metascore
    • 60 Keith Uhlich
    Viewers familiar with Daniels’s idiosyncratically vulgar work might be disappointed that there’s little here that compares to Nicole Kidman loosing a yellow stream on Zac Efron’s jellyfish stings in "The Paperboy" (2012).
    • 37 Metascore
    • 60 Keith Uhlich
    You can barely stifle a laugh, and the way Wright and Watts deliver rote, morally searching dialogue with deer-in-the-headlights stoicism (“We’ve crossed a line,” Lil blankly notes) doesn’t help matters.
    • 57 Metascore
    • 60 Keith Uhlich
    If anything distinguishes director Régis Roinsard’s take on well-trod material, it’s his Technicolor-bright widescreen palette (recalling many a late-’50s pillow-talk romance without a hint of snooty irony) and energetically game cast.
    • 68 Metascore
    • 60 Keith Uhlich
    Photographed with an alluring sheen that complements the coldly commercial wheelings and dealings of its subjects, Red Obsession fascinatingly reveals how Old World vintner artistry is being shaken up by New World supply and demand.
    • 49 Metascore
    • 60 Keith Uhlich
    Watching this see-in-the-dark muscleman brooding against gorgeous otherworldly vistas, all while crafting pointy homemade weapons and befriending a scene-stealing CGI canine (no joke), is a sci-fi aficionado's delight.
    • 75 Metascore
    • 60 Keith Uhlich
    You still leave impressed at the way Stanton fiercely protects the aura of mystery that makes him such an indelible onscreen presence.
    • 74 Metascore
    • 60 Keith Uhlich
    The uniformly showy performances (Acting with a capital ‘A’) are what do in Prisoners more than anything.
    • 75 Metascore
    • 60 Keith Uhlich
    This is not a choice made lightly by anyone involved, but the admirable, multilayered toughness of these sequences is unfortunately weakened by the filmmakers’ saccharine touch whenever they explore the doctors’ personal lives.
    • 69 Metascore
    • 60 Keith Uhlich
    There’s still enough of merit here (particularly a movingly low-key finale that strikes just the right note of reconciliation and regret) to suggest that Porterfield has the chops to eventually hone his talents to a fine point.
    • 64 Metascore
    • 60 Keith Uhlich
    The scenes of the film’s exuberant, frizzy-haired protagonist wandering Naples and revisiting old haunts, however, seem much more unfocused—a ramshackle search for insights into the man’s art and life that rarely come. The instruments are in tune, but the rhythm is off.
    • 49 Metascore
    • 60 Keith Uhlich
    No new ground is broken, and viewers will, not unpleasantly, get everything they expect. It’s apparently morning in America again.
    • 65 Metascore
    • 60 Keith Uhlich
    The overall effect is not unlike watching a chef de cuisine experimenting in his off-hours; not everything takes, but you still come away with a pleasingly stimulated palate.
    • 60 Metascore
    • 60 Keith Uhlich
    Once Pip reaches the big city, Newell starts losing the dramatic focus, piling on incidents and revelations with a bombastic force that makes it seem as if we’re watching a cheap 19th-century telenovela.
    • 54 Metascore
    • 60 Keith Uhlich
    Still, if any modern strip is worthy of an extended, Hobbes-style tongue bath, it’s this one.
    • 75 Metascore
    • 60 Keith Uhlich
    A Matrix Reloaded–like cliffhanger reminds that this is only the second installment out of four (good lord), but at least the flick leaves us with more than a tinge of interest in whom the odds will favor next.
    • 48 Metascore
    • 60 Keith Uhlich
    Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
    • 46 Metascore
    • 60 Keith Uhlich
    Once the undead start walking, however, the film loses some of its footing: Most of the bloodletting is staged with quick-cut inelegance better suited to the hack horror production of your choosing, though there’s still a potent air of hopelessness that lingers as the cast is winnowed away "Ten Little Indians"–style.
    • 42 Metascore
    • 60 Keith Uhlich
    There are a few too many twists on this highway.
    • 58 Metascore
    • 60 Keith Uhlich
    What ran more than three hours onstage now barely cracks two, and the cutting can be felt in the way the often gut-busting bad behavior is privileged over psychological credibility.
    • 41 Metascore
    • 60 Keith Uhlich
    Quentin Tarantino showcased her bubbly personality (and ass-kicking dexterity) in 2007’s terrific gearhead horror movie, "Death Proof." Now, seasoned stuntwoman Zoë Bell gets a vehicle all her own—a disposable battle royal no-budgeter that’s immensely elevated by her presence.
    • 64 Metascore
    • 60 Keith Uhlich
    The movie is never less than involving, but rarely amounts to more than a third-generation grindhouse knockoff.
    • 75 Metascore
    • 60 Keith Uhlich
    The Aatsinki siblings never rise past a kind of rotely anonymous masculinity, and overall the film tends to lull rather than engage the senses.
    • 68 Metascore
    • 60 Keith Uhlich
    There’s bleakness in the beauty: What begins as a personal coming-of-age story ends as a tragic tale of a community’s stunted adolescence.
    • 52 Metascore
    • 60 Keith Uhlich
    Clooney occasionally shows a surer hand: He gets great work from Downton Abbey’s Bonneville — notably in an emotionally charged scene revolving around Michelangelo’s Madonna of Bruges — and has a fine monologue himself, in which Stokes dresses down a high-ranking German commander (a moving encapsulation of the American spirit at its best).
    • 61 Metascore
    • 60 Keith Uhlich
    The story beats are as familiar as they come, and there are a few halfhearted stabs at redeeming Roberts’s clueless character when it would have been better to push her feeble-mindedness to Anna Faris–esque extremes.
    • 62 Metascore
    • 60 Keith Uhlich
    Imagine "His Girl Friday" crossed with "Armageddon" and you’ll get a sense of the unfortunate disconnect that prevents an enjoyable light entertainment from achieving rom-com nirvana.
    • 75 Metascore
    • 60 Keith Uhlich
    May’s biggest get, however, is Ciavarella himself—a man forever rationalizing his shady actions, who emerges as a more complexly tragic figure than you’d think possible.
    • 56 Metascore
    • 60 Keith Uhlich
    Would that the climax lived up to the tension-filled first two thirds. Let’s just say that Non-Stop reaches for some pointed post-9/11 political commentary that almost entirely exceeds its grasp. Total brainlessness, in this case, would have been a virtue.
    • 61 Metascore
    • 60 Keith Uhlich
    This is hardly a symphony of terror, but it’s still a solidly composed exercise in suspense.
    • 51 Metascore
    • 60 Keith Uhlich
    Melodrama often risks the ridiculous to achieve the sublime, and though this unabashedly earnest tearjerker doesn’t completely transcend its narrative absurdities, it’s enough of a distinctively odd duck to keep you engaged.
    • 62 Metascore
    • 60 Keith Uhlich
    Anyone who has ever loved a television show can see that Thomas and his crew are working overtime to give VM aficionados everything they want.
    • 60 Metascore
    • 60 Keith Uhlich
    Family members fight and reconcile over delicious-looking regional cuisine, new romantic possibilities present themselves, and Deneuve swans through all the heartstring-plucking silliness like the ethereal superstar she is. There are worse things in life.
    • 73 Metascore
    • 60 Keith Uhlich
    The brotherly-love epiphany to which the film builds does effectively pluck the heartstrings, but there’s a lingering sense that we’re being had.
    • 74 Metascore
    • 60 Keith Uhlich
    Maier’s images are truly stunning—vivid documents of the working class that are off-the-cuff yet rigorously composed, always capturing that enigmatic bit of her subject’s soul that leaves you in spine-tingled awe.
    • 41 Metascore
    • 60 Keith Uhlich
    You’re thankful when Ayer stops trying to artistically tart up this Peckinpah-lite tale of vengeance and just lets his leading man do what he does best: blow the bad guys away.
    • 67 Metascore
    • 60 Keith Uhlich
    All of this is fascinating in the moment, yet the doc never yokes all these threads into anything particularly deep or illuminating. The Galapagos Affair is less social commentary, more gossip.
    • 74 Metascore
    • 60 Keith Uhlich
    Joe
    Yet Green, as is his wont, too often strains for poetic effect through flowery voiceover and tone-deaf interactions — like those between Joe and his latest short-term girlfriend — that undercut the genuineness.
    • 44 Metascore
    • 60 Keith Uhlich
    It’s unfortunate that Stelling and his cast aren’t able to lift the story much above mawkishness.
    • 45 Metascore
    • 60 Keith Uhlich
    Marvin Kren’s enjoyable if ephemeral horror movie gets by for a while on its dopey premise.
    • 69 Metascore
    • 60 Keith Uhlich
    Fortunately Coppola’s sensitivity is always evident, especially in the open-hearted performances she gets from Roberts and Kilmer (whose father, Val, has a funny, pot-addled cameo).
    • 56 Metascore
    • 60 Keith Uhlich
    What keeps you watching is the charisma of the performers: Hamm does an amiable riff on his Don Draper persona (he’s cynical before the big melt), Lake Bell is a delight as his tart-tongued love interest, and Sharma and Mittal are all charm as the cultures-uniting underdogs.
    • 72 Metascore
    • 60 Keith Uhlich
    Nicholas Wrathall’s documentary—rough-edged in style, yet anchored by pointed and poignant interviews with the man himself — is mostly for those already fascinated by Vidal’s colorful life.
    • 55 Metascore
    • 60 Keith Uhlich
    Hellion aims to cut deep, striking a tone that melds the hysterical moralism of Larry Clark’s Kids (1995) with the coming-of-age melancholy of Mud’s Jeff Nichols (also this film’s executive producer).
    • 54 Metascore
    • 60 Keith Uhlich
    Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
    • 72 Metascore
    • 60 Keith Uhlich
    This is a movie that preaches to its rafters-raising choir.
    • 60 Metascore
    • 60 Keith Uhlich
    Here, though, everyone involved seems above the rom-com conventions they’re satirizing, so anxious to get to each punch line that they let the connective tissue languish. You howl often but quickly forget why.
    • 39 Metascore
    • 60 Keith Uhlich
    They have little feel for the technical side of filmmaking; the imagery is flat and the editing amateurish. Most shots seem held for a beat too long or too short, wreaking havoc with the comic rhythm. Nonetheless, McCarthy and Falcone’s attempts to make Tammy more flesh-and-blood than a figure of fun are often poignant.
    • 67 Metascore
    • 60 Keith Uhlich
    The film adheres closely to a well-reviewed theater production cocreated by and starring Andre Gregory and Wallace Shawn, both of whom get to riff on their prickly "My Dinner with Andre" rapport.
    • 70 Metascore
    • 60 Keith Uhlich
    There’s a fine line between modesty and inconsequence, and this low-key, primarily improvised feature from mumblecore staple Joe Swanberg mostly blurs the divide.
    • 64 Metascore
    • 60 Keith Uhlich
    These scenes make you wish the rest of the movie had similar bite, but Gibney tends toward that dutiful doc style that mixes talking heads and archival clips into a flavorless stew—a bland complement to Fela’s zesty on- and offstage presence.
    • 64 Metascore
    • 60 Keith Uhlich
    The survey the film provides is bracing, and there are plenty of talking heads to guide us through the kaleidoscope of imagery. Unfortunately, there’s also a public-television vibe to the proceedings that mutes the overall power. It’s essential info presented with little imagination.
    • 58 Metascore
    • 60 Keith Uhlich
    Ed Harris is a performer made for Westerns, and he’s perfectly utilized in debuting director Michael Berry’s middling if still very watchable modern-day oater as Roy.
    • 67 Metascore
    • 60 Keith Uhlich
    The Israel-Palestine conflict is reduced to a crystalline, though still complicated, essence in Nadav Schirman’s alternately tedious and engrossing documentary.
    • 56 Metascore
    • 60 Keith Uhlich
    You can’t help but feel all the palpable joy is eliding some darker realities that would lend the copious musical performances a deeper resonance.
    • 81 Metascore
    • 60 Keith Uhlich
    The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
    • 66 Metascore
    • 60 Keith Uhlich
    There’s no real pleasure in any of the musical performances. And when married to the scenes exploring Hendrix’s tumultuous personal life—particularly his semi-abusive relationship with long-term girlfriend Kathy Etchingham (Hayley Atwell)—you’re left with a monotonously grim portrait that’s more rewarding in theory than execution.
    • 65 Metascore
    • 60 Keith Uhlich
    For a while it’s a low-key fish-out-of-water comedy (with McDonald’s as one of its many obvious punch lines), then it morphs into a cumbrously sentimental tale of redemption.
    • 72 Metascore
    • 60 Keith Uhlich
    For all its surface effectiveness, however, The Blue Room never quite makes that intangible leap into greatness. It’s a phenomenally executed exercise that, like its protagonist’s memory, is too wispy for its own good.
    • 55 Metascore
    • 60 Keith Uhlich
    Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.
    • 54 Metascore
    • 60 Keith Uhlich
    The movie’s admirable fleetness, however, doesn’t mitigate some of its narrative errors — Alexander’s opening voiceover suggests his family is totally oblivious to his role in their misery, which is disproved by a later scene — nor does it counteract an overall sense of slightness that prevents this from being a family-film classic.
    • 37 Metascore
    • 60 Keith Uhlich
    The early scenes of Gabe Ibáñez’s impressively mounted but uneven thriller do some terrific dystopian world-building.
    • 55 Metascore
    • 60 Keith Uhlich
    Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
    • 72 Metascore
    • 60 Keith Uhlich
    Diplomacy’s origins as a play (written by Cyril Gely and starring the same actors) are always evident. Despite Schlöndorff’s attempts to give the movie some pop through widescreen lensing and noirish lighting, it’s a visually staid affair—very “filmed theater.” Fortunately, both Arestrup and Dussolier are captivating presences.
    • 55 Metascore
    • 40 Keith Uhlich
    Lee and Schamus make history blandly palatable; in the process, they rob the times and the people they’re portraying of their complications.
    • 53 Metascore
    • 40 Keith Uhlich
    Props should be given to Rodriguez’s breathless “let’s put on a show” inventiveness. Plus, Macy and the booger--kick ass!
    • 71 Metascore
    • 40 Keith Uhlich
    The true soulfulness of Sendak’s parable never emerges.
    • 37 Metascore
    • 40 Keith Uhlich
    There’s nothing more boring than a life embalmed with halfhearted Hollywood bombast, which only makes the film’s fleeting pleasures stand out all the more.
    • 66 Metascore
    • 40 Keith Uhlich
    Director-cinematographer Steven Soderbergh’s indifference to the material is palpable and of a piece with his deathly dull output of late.
    • 79 Metascore
    • 40 Keith Uhlich
    Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
    • 53 Metascore
    • 40 Keith Uhlich
    Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.
    • 53 Metascore
    • 40 Keith Uhlich
    For a few brief moments, the film becomes something close to Greek mythology, as opposed to graphic-novel imitator. What a feeling!
    • 55 Metascore
    • 40 Keith Uhlich
    There’s a marked sense of retreat in this tale that’s never explored--everyone goes out of the way to remember the past through rose-colored specs.
    • 81 Metascore
    • 40 Keith Uhlich
    Writer-director Jane Campion approaches the tale with an artiste’s respectful solemnity, but it too often comes off like "Twilight" transplanted across oceans and centuries.
    • 79 Metascore
    • 40 Keith Uhlich
    Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
    • 83 Metascore
    • 40 Keith Uhlich
    Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
    • 85 Metascore
    • 40 Keith Uhlich
    Lone Scherfig directs it all as if it were a breezy lark, so a third-act tonal shift makes for an incongruous, excessively moralistic fit with everything that’s preceded. Most insulting, though, is the way in which the climactic passages miraculously tidy up every frayed edge of Jenny’s life.
    • 57 Metascore
    • 40 Keith Uhlich
    There’s little that can be done with material wrung of its complications to accommodate an ultimately life-affirming, it-all-works-out agenda.
    • 72 Metascore
    • 40 Keith Uhlich
    A slipshod documentary about a fascinating subject: the loaded history and current complications of African-American hairstyling.
    • 62 Metascore
    • 40 Keith Uhlich
    The film slowly loses the sobering toughness of its initial inquiry, and finally comes off as bloodline-biased hagiography.

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