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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Another Year
Lowest review score: 20 Couples Retreat
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 50 Metascore
    • 40 Keith Uhlich
    A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)
    • 27 Metascore
    • 40 Keith Uhlich
    One wrongheaded jaw-dropper follows another.
    • 58 Metascore
    • 40 Keith Uhlich
    This is like a subpar "Naked Gun" feature cooked up by Eisenstein and Godard during a drug-addled lost weekend. Where's Leslie Nielsen when you need him?
    • 41 Metascore
    • 40 Keith Uhlich
    Kilcher makes the slog worthwhile--her face gleams with possibility, even in the character’s darkest moments--though one prays she escapes the typecasting trap ASAP.
    • 59 Metascore
    • 40 Keith Uhlich
    The film blows up a minor aspect of the New Wave to foolishly apocalyptic proportions, substituting gossip for gospel.
    • 66 Metascore
    • 40 Keith Uhlich
    It’s a neurotic treatise that simply adds to our cultural dementia instead of illuminating it.
    • 55 Metascore
    • 40 Keith Uhlich
    There’s little of the Church’s perspective in this doc, but you can’t really fault the filmmakers--Mormon leaders refused several overtures to participate. Read more: http://newyork.timeout.com/articles/film/86550/the-mormon-proposition-film-review#ixzz0r2j38wUF
    • 20 Metascore
    • 40 Keith Uhlich
    Only "Slumdog Millionaire's" Dev Patel, as the bastard prince of the villainous Fire nation, truly gets jiggy with the fantasy. Everyone else stares off into green-screen space and waits for lunch to be called.
    • 65 Metascore
    • 40 Keith Uhlich
    Jolie must eventually become a comic-book supergirl impervious to explosions and bullets, all the better to set up a "Bourne"-like franchise by the final fade-out.
    • 77 Metascore
    • 40 Keith Uhlich
    This is the kind of autumnal sentimentality that the Academy goes wild for-a (rightly) venerated performer acknowledging his own mortality by pandering to cheap-seat emotions.
    • 37 Metascore
    • 40 Keith Uhlich
    Cue those weepy violins. Indeed, you get everything you'd expect from this mostly saccharine melodrama.
    • 60 Metascore
    • 40 Keith Uhlich
    This highly fictionalized look at the Wild West early days of Internet porn is off-putting in almost every way, with sledgehammer stylistic flourishes (incessant shaky-cam; a Rolling Stones musical cue as ironic comment) and dialogue that sounds like it was written in a testosterone-fueled haze.
    • 22 Metascore
    • 40 Keith Uhlich
    From the moment Joel Schumacher's dour teens-in-crisis melodrama establishes its group of spoiled (and so, so unloved) Manhattan silver-spooners, you long for anything to leaven the tsk-tsk prurience.
    • 45 Metascore
    • 40 Keith Uhlich
    The thought behind this body-splattering nostalgia trip is unformed and stagnant.
    • 69 Metascore
    • 40 Keith Uhlich
    It's supremely annoying to see the ups and downs of romance reduced to archer-than-arch line readings and bloodless mortal kombat. What's more frustrating is that the film, adapted from Bryan Lee O'Malley's popular comic, is an endless visual delight.
    • 76 Metascore
    • 40 Keith Uhlich
    There's no sense of the oppression France felt under Nazi rule. It's all just play-acting in period-specific attire. You can almost hear the AD calling lunch.
    • 51 Metascore
    • 40 Keith Uhlich
    Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
    • 69 Metascore
    • 40 Keith Uhlich
    The stylistic conceit of keeping us entirely with the clones (so that we are as ill-informed as they are and never get to meet their powerful oppressors) only reveals what an empty-headed abstraction this tale was from both page and frame one
    • 74 Metascore
    • 40 Keith Uhlich
    There's more than a few things off in this tale of a disillusioned professional thief (Affleck, dull), his unlikely inamorata (Hall, wasted) and the determined FBI agent (Hamm, solid) out to apprehend him.
    • 63 Metascore
    • 40 Keith Uhlich
    Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
    • 53 Metascore
    • 40 Keith Uhlich
    Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
    • 56 Metascore
    • 40 Keith Uhlich
    Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
    • 61 Metascore
    • 40 Keith Uhlich
    For those of us with a love of actorly indulgence, though, the film is a treasure trove, filled with enough molten-gold performances to gild a thousand Oscars.
    • 53 Metascore
    • 40 Keith Uhlich
    One's heart sinks the moment the trio is picked up by Prince Caspian (Barnes) and deposited on his ship, the Dawn Treader. Suddenly we're in green-screen land, where everything looks cheap, heavily digital and unfortunately postconverted to 3-D-hardly a fantastical otherworld.
    • 28 Metascore
    • 40 Keith Uhlich
    For an especially egregious bit of miscasting, look no further than Mena Suvari, star of this tony adaptation of Ernest Hemingway's posthumously published novel about a disintegrating marriage.
    • 56 Metascore
    • 40 Keith Uhlich
    Clearly there's a lot of myth-dispelling to do; indeed, the film often seems like a public-service announcement wrapped around a sketchy narrative skeleton.
    • 44 Metascore
    • 40 Keith Uhlich
    The Rock deserves better than this ho-hum revenge picture.
    • 81 Metascore
    • 40 Keith Uhlich
    What starts as an intriguing reverie ends as a hollow allegory.
    • 63 Metascore
    • 40 Keith Uhlich
    This routine animated feature is a perfectly fine thing to waste.
    • 28 Metascore
    • 40 Keith Uhlich
    It's "Centurion Deux" without the second-coming-of-Carpenter pretense, though you still wish the trashiness were more distinctive.

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