For 621 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 2.9 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 National Gallery
Lowest review score: 20 Late Bloomers
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 77 Metascore
    • 100 Keith Uhlich
    You may often find yourself second-guessing the film, questioning how—and if—it will all come together. But by the time of the intense and impassioned climax, a storm of emotion is ensured: a great movie rising before you like a delusion, like a dream.
    • 81 Metascore
    • 100 Keith Uhlich
    The journey is often challenging, but the rewards—heady, emotional, provocative and invigorating—are endless.
    • 62 Metascore
    • 100 Keith Uhlich
    It's McConaughey who is the real revelation: All Grim Reaper strut and cutthroat stare, he savors each of Letts's vividly ghoulish lines.
    • 80 Metascore
    • 100 Keith Uhlich
    Brava, Mia! The exceedingly talented Ms. Hansen-Løve (the writer-director of Father of My Children) is sure to win many more fans with her latest feature, an incisive, exhilaratingly frank examination of l'amour lost.
    • 87 Metascore
    • 100 Keith Uhlich
    Those Dardenne brothers…still making great movies with second-nature ease.
    • 73 Metascore
    • 100 Keith Uhlich
    The most impressive aspect of Breillat’s feature is that it agitates like the best fairy tales, seducing us with otherworldliness before sticking the knife in and permanently inscribing the moral.
    • 85 Metascore
    • 100 Keith Uhlich
    The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré's beloved 1974 spy novel.
    • 79 Metascore
    • 100 Keith Uhlich
    If Jim Jarmusch’s languorous, laconic style isn’t your bag, his stone-faced vampire comedy won’t make you a believer. Those who’ve already been bitten, however, will swoon like the film’s toothy leads whenever their lips touch neck juice.
    • 82 Metascore
    • 100 Keith Uhlich
    Moreover, the story doesn’t climax in all’s-well-that-ends-well matrimony, instead building to a beautifully bittersweet moment of self-realization, one with a light-touch profundity that would make the Bard proud.
    • 81 Metascore
    • 100 Keith Uhlich
    No simplistic status parable. It’s more a psychological snapshot of a person forever doomed to remain a voyeur to her own life
    • 91 Metascore
    • 100 Keith Uhlich
    Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.
    • 65 Metascore
    • 100 Keith Uhlich
    It isn't until the story reaches its fancifully abstract final passages, where cinema displaces music as Douglas's weapon of choice, that Chase's reverie reveals itself as a particularly exceptional exploration of how art ceases being an idle hobby and becomes an obsessive vocation.
    • 59 Metascore
    • 100 Keith Uhlich
    It’s likely that only Herzog would dare to, and succeed at, resolving this singular cinematic object by contemplating the fate of an abandoned basketball.
    • 89 Metascore
    • 100 Keith Uhlich
    The popular view of art is that it belongs to the masses. Wiseman casts a more skeptical eye, questioning such egalitarianism with cold, hard historical context. Yet he simultaneously acknowledges that these works live on far beyond their original purpose, even if, as the film’s bold, brilliant climax suggests, they may eventually play to an audience of none.
    • 85 Metascore
    • 100 Keith Uhlich
    Sokurov, who also acted as director of photography, films the character and his surroundings with the eye of a newly arrived visitor to another world.
    • tbd Metascore
    • 100 Keith Uhlich
    Strangely enough, our knowledge of what’s to come makes Word Is Out that much more affecting, because it shows that there were—and are—pockets of peace amid the brutality of an ongoing civil-rights struggle.
    • 85 Metascore
    • 100 Keith Uhlich
    The Tree of Life enthralls right from the start.
    • 77 Metascore
    • 100 Keith Uhlich
    A dream, indeed. Sure to delight foodies and cinephiles alike.
    • 90 Metascore
    • 100 Keith Uhlich
    Sure it is - and a great one at that.
    • 82 Metascore
    • 100 Keith Uhlich
    Wang has made a confidently intimate movie that is devastatingly larger-than-life.
    • 87 Metascore
    • 100 Keith Uhlich
    By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.
    • 65 Metascore
    • 100 Keith Uhlich
    Alain Resnais's mind-bending new feature.
    • tbd Metascore
    • 100 Keith Uhlich
    By the time they've taken full control of the movie's alternate universe-as the melodrama morphs with marvelous ease into a musical comedy-you feel like anything is possible. Cinema this alive is a rare bird, indeed.
    • 61 Metascore
    • 100 Keith Uhlich
    And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.
    • 73 Metascore
    • 100 Keith Uhlich
    Filmmakers from Jacques Rivette to Hou Hsiao-hsien have treated the City of Light like Alice’s rabbit hole; writer-director Hong Sang-soo similarly embraces the fantasy, but goes one step further in this extraordinary character study by fully erasing the line that separates the actual from the fictional.
    • 40 Metascore
    • 100 Keith Uhlich
    Gallo and Dalle are sublimely tragic figures; the scene in which Shane stalks around Notre Dame like Frankenstein unleashed is a pitch-perfect encapsulation of the way the film plays with and deepens movie-monster archetypes.
    • 74 Metascore
    • 100 Keith Uhlich
    This time around, the director documents a 2011 Young solo show in Toronto (the musician's birthplace), but in an intentionally fractured way.
    • 85 Metascore
    • 100 Keith Uhlich
    Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.
    • 83 Metascore
    • 100 Keith Uhlich
    Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.

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