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 Fifi Howls from Happiness
Lowest review score: 20 Goodbye World
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 75 Metascore
    • 60 Keith Uhlich
    As the Sherlock Holmes of the second Zhou Dynasty, Lau is so effortlessly appealing that he manages to anchor the fatigue-heavy proceedings, even when his character has to outrun both the rays of the sun - don't ask - and a collapsing statue while crawling over and under a pack of stampeding horses. Now that's star power.
    • 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.
    • 53 Metascore
    • 60 Keith Uhlich
    Fists fly furiously and much blood is spilled; there's a sacrifice via sword that's both cringe-inducing and cheerworthy. Even special guest star Jackie Chan gets in on the fun with a hilarious bit of food-jitsu. It's almost enough to make you forget that this entertainingly hollow film is populated entirely with toy soldiers.
    • 57 Metascore
    • 60 Keith Uhlich
    This is still a fascinating history, especially when Limelight touches on the club scene's dark side: A lengthy dissection of the Angel Melendez murder, complete with an appearance by weathered-looking killer Michael Alig, chillingly shows how the out-all-night lifestyle can take its toll.
    • 81 Metascore
    • 60 Keith Uhlich
    Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.
    • 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.
    • 61 Metascore
    • 60 Keith Uhlich
    That the filmmaker at least makes a concerted effort to tweak what in most hands would be an offensively whitewashed dark-continent parable is worth some measure of praise.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Keith Uhlich
    Other than ludicrously pulpy fun, Anonymous, true to its title, ultimately signifies nothing.
    • 29 Metascore
    • 60 Keith Uhlich
    13
    Aside from some character-defining flashbacks, a godawful score and sweat-enhancing color photography, it's the same movie as before - a divertingly tense yet superficial time-waster.
    • 58 Metascore
    • 60 Keith Uhlich
    There's an all-embracing openness here that belies the often cold and calculating characters she plays onscreen. She's the perfect confluence of brains and beauty, and it's a pleasure to be in her company.
    • 61 Metascore
    • 60 Keith Uhlich
    This is no family-friendly "Peanuts" special.
    • 66 Metascore
    • 60 Keith Uhlich
    The story's half-baked environmental themes become more prevalent as Letters from the Big Man progresses to its back-to-nature finale, which unfortunately distracts from Munch's consistently sure hand with his actors.
    • 46 Metascore
    • 60 Keith Uhlich
    The filmmaker's work is infinitely more exhilarating when he's relieved of the need to be in any way serious. He should play dumb more often.
    • 67 Metascore
    • 60 Keith Uhlich
    The jarring juxtapositions only heighten the enigmatic air of the film's subject; even when he's right in front of us, he seems to be plotting his next wily act.
    • 83 Metascore
    • 60 Keith Uhlich
    You still can't help admiring the project's ambition; an odd combo of "Babe: Pig in the City" and Godard's "Histoire(s) du cinéma," Hugo is the strangest bird to grace the multiplex in a while.
    • 52 Metascore
    • 60 Keith Uhlich
    A Euro gloss on "Pretty Woman" suddenly turns into "Occupy Gaul."
    • 71 Metascore
    • 60 Keith Uhlich
    Fincher's film tips much more in the indulging direction of crowd Comic-Con - delighting the franchise junkie above all other considerations.
    • 73 Metascore
    • 60 Keith Uhlich
    Well, Ghost Protocol ultimately ends up as an eye-rollingly towering totem to L. Ron's favorite son, complete with treacly music cues and longing glances - bromantic and otherwise - that will send you screaming into the thetan-stealing clutches of Lord Xenu.
    • 44 Metascore
    • 60 Keith Uhlich
    More stupid movies should leave you with such a blissfully stupid smile.
    • 71 Metascore
    • 60 Keith Uhlich
    Comparable works like John Gianvito's "Profit Motive and the Whispering Wind," or nearly anything from cine-essayist Chris Marker's oeuvre, mine similar territory much more rewardingly.
    • 64 Metascore
    • 60 Keith Uhlich
    Moment to moment, the film is gripping and beautiful to behold (props to cinematographer Masanobu Takayanagi for the mesmerizingly grainy, achromatic visuals). But caveat emptor to those expecting a hinterlands gloss on "Taken" with rapacious curs in place of nefarious Albanians.
    • 67 Metascore
    • 60 Keith Uhlich
    There's not much beyond all the fawning, but the effusively talented Channing more than deserves the gush.
    • tbd Metascore
    • 60 Keith Uhlich
    Once the story takes a murderous turn, things quickly fall apart. Too many perfunctory side characters, such as Dennis's clueless parole officer, dilute any sense of tension; the bargain-basement visuals-all overlit interiors and unmotivated zooms-never rise above the luridly cheap; and hoo-boy, those final scenes.
    • 76 Metascore
    • 60 Keith Uhlich
    Miners' is tiresome and scattershot.
    • 53 Metascore
    • 60 Keith Uhlich
    None of the hilarity is enough to keep Wanderlust from feeling like a late-night comedy-show sketch stretched to feature length. But why look a giggle-prone gift horse in the mouth?
    • 66 Metascore
    • 60 Keith Uhlich
    Carice van Houten (Black Book) is superb as the emotionally unstable Jonker - all manically beaming highs and depressively gloomy lows, a tempestuous force of nature in a movie that too often plays it blandly polite.
    • 49 Metascore
    • 60 Keith Uhlich
    Even this terrifically talented performer can't sell a Shyama-lana-ding-dong of a third-act twist that will make more eyes than heads roll.
    • 69 Metascore
    • 60 Keith Uhlich
    The longer this "Abbott and Costello's Lethal Weapon" goes on, the more the fun dissipates - until a queasily violent climax, which, naturally, fully embraces genre stereotypes rather than dismantling them.

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