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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Celine and Julie Go Boating (1974)
Lowest review score: 20 Rudderless
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 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.
    • 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.
    • 42 Metascore
    • 60 Keith Uhlich
    John Travolta breaks the braggadocio meter in the latest tightly wound actioner from "Taken’s" Pierre Morel.
    • 71 Metascore
    • 60 Keith Uhlich
    Yet it still works like gangbusters - tears will be stifled by the end of the sibling vs. sibling finale - and most of the credit should go to Hardy, Nolte and Edgerton.
    • 71 Metascore
    • 60 Keith Uhlich
    But take the puppet off his arm and he seems somehow vague and incomplete, like the Wizard of Oz without his curtain.
    • 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.
    • 52 Metascore
    • 60 Keith Uhlich
    A Euro gloss on "Pretty Woman" suddenly turns into "Occupy Gaul."
    • 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.
    • 46 Metascore
    • 60 Keith Uhlich
    Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.
    • 49 Metascore
    • 60 Keith Uhlich
    When it comes to scenes in which characters are asked to say more than two words, however, the filmmaker's a decided amateur; Moretz, in particular, seems hopelessly stranded as the attitudinal wild child.
    • 64 Metascore
    • 60 Keith Uhlich
    The Horse Boy comes off as both an edifying work of advocacy and an invasive home movie.
    • 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.
    • tbd Metascore
    • 60 Keith Uhlich
    The longer the film goes on, the more it seems like a collection of gorgeous images without an overall organizing structure. Our youthful lead’s slow disillusionment with his complicated surroundings ultimately plays less profound than petulant.
    • 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.
    • 67 Metascore
    • 60 Keith Uhlich
    Once the rote plot takes over - the tension brought on by the film's you-are-there verisimilitude quickly devolves into soapily overwrought theatrics.
    • 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.
    • 75 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.
    • 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.
    • 60 Metascore
    • 60 Keith Uhlich
    They (Bullock/McCarthy) deserve a much stronger showcase than this Laurel & Hardy Go Policin’ vehicle.
    • 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.
    • 52 Metascore
    • 60 Keith Uhlich
    Don't go in expecting scares so much as laughs. Scream 4 is a better "Scary Movie" than any of the "Scary Movies" ever were, from its inventively gut-busting kills (watch out for that mail slot!) to the unintentionally humorous sight of the three leads acting as if they're in three separate films.
    • 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.
    • 59 Metascore
    • 60 Keith Uhlich
    The fancifulness wears out its welcome, though, and you often wish the film would treat its subject with a bit more seriousness.
    • 72 Metascore
    • 60 Keith Uhlich
    This is a movie that preaches to its rafters-raising choir.
    • 68 Metascore
    • 60 Keith Uhlich
    Mostly though, it feels like we're watching a superficial gloss on Goodman's CV rather than a probing interrogation of his legacy. For the choir only.
    • 61 Metascore
    • 60 Keith Uhlich
    This is hardly a symphony of terror, but it’s still a solidly composed exercise in suspense.
    • 55 Metascore
    • 60 Keith Uhlich
    There’s no room for such soul-searching uncertainty with Gibson. After a few rapidly ticked-off minutes of gloom, the mission is clear: Get the sons of bitches, and make ’em pay.
    • 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.
    • 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.
    • 77 Metascore
    • 60 Keith Uhlich
    The kids pick up the filmmakers' lyrical slack more often than not, but this ode to the power of verse could really use a redraft.

Top Trailers