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 Goodbye First Love
Lowest review score: 20 Couples Retreat
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 61 Metascore
    • 80 Keith Uhlich
    There are few artists better than Rivette at uncovering the magical (even at its most menacing) in the everyday.
    • 65 Metascore
    • 80 Keith Uhlich
    The first part of Deathly Hallows has plenty of invigorating imagery alongside the pro forma narrative elements.
    • 72 Metascore
    • 80 Keith Uhlich
    What emerges is an illuminating, though terribly dismaying, portrait of the War on Terror’s lasting effects. Whether one retreats or steps out defiantly, there is no sanctuary.
    • 69 Metascore
    • 80 Keith Uhlich
    First-time director Josh Trank, working from a taut script by Max "Son of John" Landis, indulges in some wild, witty spectacle, but he's equally adept with the tale's grimmer elements, especially when the introverted Andrew unleashes his inner Magneto and uses the city of Seattle as his tear-it-apart emotional playground.
    • 51 Metascore
    • 80 Keith Uhlich
    It isn't the first time death has figured in an Allen movie, but the way he grapples with it here (leaving each character at a moment of irresolution comparable to staring down the man with the scythe) is much more potent and direct.
    • 80 Metascore
    • 80 Keith Uhlich
    The running time may make you blanch, but Connie Field’s seven-part documentary about the history and eventual dissolution of South African apartheid is well worth the commitment.
    • 84 Metascore
    • 80 Keith Uhlich
    The lengthy final two shots (each running more than ten minutes) rank among the best work this inimitable artist has ever done.
    • 82 Metascore
    • 80 Keith Uhlich
    Coleman's life and work are treated as a continuum, which Clarke pulls from at will.
    • 47 Metascore
    • 80 Keith Uhlich
    It still works its way under your skin and, by the time the highly disturbed Frank’s casualties come back to haunt him en masse, cuts sanguinely to the heart.
    • 45 Metascore
    • 80 Keith Uhlich
    It's a contemporary movie musical that makes you feel genuinely sky-high.
    • 69 Metascore
    • 80 Keith Uhlich
    Puzzling and provocative, Alps has a lingering power and an effect that is thrillingly difficult to define.
    • 76 Metascore
    • 80 Keith Uhlich
    A lesser movie might hammer home the idea that the cult squashes Martha's sense of self. This distinctive and haunting effort implies something much scarier: that there is no self to start with.
    • 72 Metascore
    • 80 Keith Uhlich
    The oft-hilarious push-and-pull between director and subject - Williams wryly notes that the film is turning into "the Steve and Paulie Show" - effectively hacks away at the celebrity-enthusiast divide. By the end of this perceptive dual portrait, both men are content to merely be human.
    • 63 Metascore
    • 80 Keith Uhlich
    This potent emotional undercurrent goes a long way toward counteracting the movie’s clumsier moments, carrying us aloft to a finale that, in its strange mix of trepidation and tenderness, is truly sublime.
    • 85 Metascore
    • 80 Keith Uhlich
    A moving meditation on history, knowledge and mortality.
    • 57 Metascore
    • 80 Keith Uhlich
    Ferrara’s unconventional methods only manage to serve Chelsea on the Rocks, his loving portrait of Manhattan’s boho landmark, the Chelsea Hotel.
    • 62 Metascore
    • 80 Keith Uhlich
    The mostly dialogue-free middle section is a scare-film master class - and when a becalmed smile does finally cross his lips, it's in the most giddily mordant of circumstances. As Arthur embraces the darkness, so does the darkness embrace us.
    • 69 Metascore
    • 80 Keith Uhlich
    The film isn't blinded by Candy's beauty and celebrity; it digs critically, if still empathetically, beneath.
    • 83 Metascore
    • 80 Keith Uhlich
    A 25-words-or-less pitch for The Day He Arrives - shot in luminous black-and-white - might go something like: "Hong Sang-soo does Groundhog Day."
    • 75 Metascore
    • 80 Keith Uhlich
    Scorsese, that sly spiritualist, is out to make us sick on commerce and greed run rampant. He moves us beyond the allure of avarice so that we might take better stock of ourselves. What starts as a piggish paean becomes, by the end, an invigorating purge.
    • 58 Metascore
    • 80 Keith Uhlich
    Del Toro and Amalric’s concentrated performances — the former resigned and shell-shocked, the latter agitated and servile — have an anguished grandeur.
    • 69 Metascore
    • 80 Keith Uhlich
    Spelling may not be Quentin Tarantino’s forte, but his grasp of language (both verbal and visual) is peerless.
    • 45 Metascore
    • 80 Keith Uhlich
    What follows is pulp made near-profound through director Jonathan Mostow’s sure-handed guidance.
    • 81 Metascore
    • 80 Keith Uhlich
    An Arabic-German coproduction, it is a rare movie shot entirely in Saudi Arabia, which has no cinema industry to speak of, and the first feature by a female filmmaker from that country. Forbidden from mixing with the men in her crew, Al-Mansour often directed via walkie-talkie from the back of a van.
    • 52 Metascore
    • 80 Keith Uhlich
    Thompson's imagination-she's also the screenwriter-knows no bounds, and she does a brilliant job of connecting the fantastical elements to the sobering realities of life during wartime.
    • 81 Metascore
    • 80 Keith Uhlich
    This is prime Woody Allen - insightful, philosophical and very funny.
    • 69 Metascore
    • 80 Keith Uhlich
    The effort is commendable and the complicated emotions of the piece (for a place and a people) come through loud and clear. To paraphrase the great Ms. Russell, the movie has the power to make you laugh and the power to break your heart in half.
    • 88 Metascore
    • 80 Keith Uhlich
    It will test your faith in humanity, but Hersonski's film is nonetheless a brilliant reminder of the importance of bearing witness.
    • 68 Metascore
    • 80 Keith Uhlich
    The sights are gorgeous—a seamless mix of archival imagery and impressively rendered digital views of our galaxy—and the science is, to layman’s eyes and ears, more than credible.
    • 66 Metascore
    • 80 Keith Uhlich
    By the time the beast spreads his wings to full span, soaring skyward toward a vaguely Spielbergian moon, you’re in the kind of breathless awe that so few current cinematic superproductions are able to provide.

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