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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Level Five
Lowest review score: 20 Abduction
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 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.
    • 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
    • 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
    • 37 Metascore
    • 40 Keith Uhlich
    Cue those weepy violins. Indeed, you get everything you'd expect from this mostly saccharine melodrama.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 40 Keith Uhlich
    This routine animated feature is a perfectly fine thing to waste.
    • 44 Metascore
    • 40 Keith Uhlich
    The Rock deserves better than this ho-hum revenge picture.
    • 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.
    • 39 Metascore
    • 40 Keith Uhlich
    Injecting a devil-may-care attitude into a franchise-focused blockbuster only gets you so far. When all is said and done, this wasp's got no sting.
    • 65 Metascore
    • 40 Keith Uhlich
    Despite the chronological juggling, the film's stylistic debts (a Hitchcock flashback borrowed from Stage Fright, a Bertolucci-esque apartment sequence that could be titled Last Tango in Auschwitz) are simplistic to a fault; they lack the multifaceted suspense and sensuality typified by those directors at their best.
    • 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.
    • 81 Metascore
    • 40 Keith Uhlich
    What starts as an intriguing reverie ends as a hollow allegory.
    • 42 Metascore
    • 40 Keith Uhlich
    This 3-D cave-diving adventure plays on a lot of fears, so avoid it if you have an aversion to claustrophobia, drowning or really bad acting.
    • 75 Metascore
    • 40 Keith Uhlich
    Several quick-witted touches-such as a hilarious nod to Depp's role in "Fear and Loathing in Las Vegas"-can't make up for Gore Verbinski's leaden direction of this digitally animated feature.
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Keith Uhlich
    It's a pleasure to watch the granite-faced action star do his own stunts, particularly a death-defying leap from a bridge. Yet everything feels hurried.
    • 45 Metascore
    • 40 Keith Uhlich
    An hour and half of comparable barbarity follows-all of it monotonous, none of it enlightening.
    • 65 Metascore
    • 40 Keith Uhlich
    The film has the look of unflinching truth, yet it too often feels like a calculated ploy to stoke viewers' liberal-guilty consciences.
    • 57 Metascore
    • 40 Keith Uhlich
    The title character himself is also an unimpressive digital creation-Rogen might as well be performing his stoner-from-another-world shtick during a wee-hours movieoke session.
    • 41 Metascore
    • 40 Keith Uhlich
    Hop
    The various plot threads-E.B. is pursued by a trio of ass-kickingly cute long-eared operatives; a disgruntled worker chick (voiced in emphatic Telemundo tones by Hank Azaria) orchestrates a coup d'état-mostly get lost amid all the allusions. Even Hugh Hefner pops up because, you know, Playboy Bunnies.

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