For 632 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 5.5 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Immigrant
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 52 out of 632
632 movie reviews
    • 36 Metascore
    • 30 Keith Uhlich
    It's never fun watching a comedian's shrewdness ossify into shtick. Yet whatever incisiveness Ricky Gervais once had (and he had plenty, if The Office and Extras are any indication) is barely evident in the new Netflix-released satire Special Correspondents
    • 18 Metascore
    • 30 Keith Uhlich
    No one emerges especially worse for wear because the entire production is wholly apathetic to everything from a compelling story to sharp comic timing.
    • 52 Metascore
    • 20 Keith Uhlich
    What played as rousingly dumb fun in "Independence Day" (1996) — all those pie-eyed nationalistic monologues, and U.S. landmarks reduced to rubble — now come off as callously insensitive, even with tongue firmly in cheek.
    • 41 Metascore
    • 20 Keith Uhlich
    This moronically unfunny gangster comedy fluctuates wildly between the lowest-of-low humor and pity-the-aged-man pathos, and offers further evidence that the best days are behind its iconic cast members.
    • 60 Metascore
    • 20 Keith Uhlich
    As is, this semi-improvised feature comes off as a willfully vague exercise that, like its dimwit protagonist, presumes that profundity and enlightenment will emerge from the morass eventually. Er, maybe - or maybe not. Kinda like "Signs;" only much, much worse.
    • 57 Metascore
    • 20 Keith Uhlich
    Berger’s script is little more than a series of contrived comic vignettes that prevent the actors from creating believable characters, forcing them to contort to fit the low-rent farce.
    • 54 Metascore
    • 20 Keith Uhlich
    For the most part, The Forgotten Space treats its subjects and settings as exploitable commodities in service to a lot of facile rise-working-man! muckraking. The ism trumps all.
    • 26 Metascore
    • 20 Keith Uhlich
    The uniformly awful performances seem beamed in from Planet Ed Wood, while the script is filled with mock-macho zingers (“If I wanted to hear from an a**hole, I’d rip you a new one!”) that would give former Governor Schwarzenegger pause.
    • 53 Metascore
    • 20 Keith Uhlich
    This frenetic horror-comedy from "Bubba Ho Tep's" Don Coscarelli is of the make-it-up-as-you-go-along school of storytelling.
    • 25 Metascore
    • 20 Keith Uhlich
    The whole sorry enterprise leaves you feeling, well, shafted.
    • 77 Metascore
    • 20 Keith Uhlich
    Christopher Isherwood’s seminal queer novel deserves a film adaptation that captures both its sense of place and its activist spirit. Cowriter-director Tom Ford settles for the glossy ephemera of a Vanity Fair cover spread.
    • 36 Metascore
    • 20 Keith Uhlich
    Only Gaby Hoffmann makes a lasting impression, as the thick-skinned pariah of the bunch. Somehow she’s able to give the ring of truth to even the hoariest of Hennelly and cowriter Sarah Adina Smith’s conceits (notably a rally-the-troops speech cribbed from founding father George Washington). The rest makes you long for Armageddon.
    • 21 Metascore
    • 20 Keith Uhlich
    No stranger to one-joke premises, writer-director Tommy Wirkola (of 2009's Nazi-zombie "classic" "Dead Snow") populates this frenzied horror-satire with tons of incoherently staged bloodletting and f-bomb–accentuated kiss-off lines. It's a grim fairy tale, all right.
    • 36 Metascore
    • 20 Keith Uhlich
    By the time The Son of No One reaches its wanna-be-tragic finale, you'd like nothing more than to kick this bastard child to the curb.
    • 54 Metascore
    • 20 Keith Uhlich
    Im could care less about these people as characters, presenting them as either obscenely hot or repellently decaying bundles of flesh.
    • 61 Metascore
    • 20 Keith Uhlich
    The funny thing about all these sub-"Matrix" shenanigans is that they’re genuinely meant to stoke thought and reflection. Frankly, though, few movies have left me feeling as shorn of gray matter.
    • 62 Metascore
    • 20 Keith Uhlich
    By the end of Pray’s skin-deep love letter, only one sweeping reaction seems appropriate: “A pox on all your houses.”
    • 38 Metascore
    • 20 Keith Uhlich
    Only Kinnear manages to give his role some shades beyond the broadly farcical, though even he ultimately succumbs to his leading lady's toothy grin and Oprah-sanctioned bromides.
    • 27 Metascore
    • 20 Keith Uhlich
    Only Wilson acquits himself, finding a few insightful layers in his black-sheep stereotype and working up a sweet chemistry with Taraji P. Henson as his sassily devoted lady-friend.
    • 42 Metascore
    • 20 Keith Uhlich
    The film slowly reveals its true colors, pointing a fanatically accusatory finger at teachers' unions while using twisted Obama-esque sloganeering about "order" and "hope" to further its simplistically anticollectivist agenda.
    • 50 Metascore
    • 20 Keith Uhlich
    Interminable scenes of macho posturing and mock-Tarantino dialogue (including a lengthy dissection of the word fags!) mark time between a number of ineptly staged car chases that would embarrass the makers of "Cannonball Run II."
    • 34 Metascore
    • 20 Keith Uhlich
    Probably best to dissuade the so-bad-it’s-good crowd: There’s nothing here to laugh at with the communal glee of a "Rocky Horror" or "The Room"; only a spectacularly bad composite shot of a fire-fighting plane induces any real giggles.
    • 60 Metascore
    • 20 Keith Uhlich
    Berg may be adhering to the basic facts, but his movie’s childish machismo is a disgrace to all involved.
    • 33 Metascore
    • 20 Keith Uhlich
    All three of you clamoring for a sequel to "Wild Wild West" have got your wish: Jonah Hex--an adaptation of the DC Comics series about a Western antihero with otherworldly abilities--gives that Fresh Prince–starring disaster from 1999 a run for its wasted money.
    • 65 Metascore
    • 20 Keith Uhlich
    I'll respect the studio's wishes to abbreviate all plot description. God knows, they're marketing it like the second coming of "The Crying Game," though the revelations that await Nev are only shocking if you believe P.T. Barnum was really in possession of a genuine Fiji mermaid.
    • 44 Metascore
    • 20 Keith Uhlich
    Probably the biggest sin in a movie filled with many is turning Fonda into a nymphomaniacal sight gag who makes Barbarella look like Gloria Steinem.
    • 42 Metascore
    • 20 Keith Uhlich
    This ludicrous CGI extravaganza, based on the comic horror novel by Seth Grahame-Smith, can stand proudly beside the best-worst of Ed Wood and Uwe Boll.
    • 40 Metascore
    • 20 Keith Uhlich
    Sandler's drool-accompanied ogling of the female form is now near Woody Allen levels of ick.
    • 47 Metascore
    • 20 Keith Uhlich
    Even supremely talented actors like Melissa Leo (as a confidently sexy trucker) and Brendan Sexton III (as a train-station beggar) are stifled by all the pseudo-redemptive mush.
    • 46 Metascore
    • 20 Keith Uhlich
    This smug and callous action-comedy is about nothing but teeth.

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