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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 My Son, My Son, What Have Ye Done
Lowest review score: 20 No One Lives
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 46 Metascore
    • 60 Keith Uhlich
    In many ways, this effervescent drama from Susan Seidelman (Desperately Seeking Susan) upends conventions, even when it sticks to a familiar narrative path.
    • 72 Metascore
    • 60 Keith Uhlich
    It's fascinating to be so close to a then-sitting head of state as he negotiates for his homeland's survival, and the news that Nasheed was recently deposed in a coup by Gayoom loyalists makes the hard-won victories he did secure all the more poignant.
    • 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.
    • 63 Metascore
    • 60 Keith Uhlich
    For all the undeniable imaginativeness and visual dazzle (this is Maddin's first entirely digital feature, and it positively glistens), Keyhole ultimately comes off like a feature-length private joke that revels a bit too gleefully in its overall inscrutability. Close, Guy. But no Double Yahtzee.
    • 55 Metascore
    • 60 Keith Uhlich
    You can't help feeling that an initially adventurous movie has had its rough edges sanded away.
    • 80 Metascore
    • 60 Keith Uhlich
    Shots of the kids and their friends running around unfamiliar environments have the fantastical qualities of Spike Jonze's "Where the Wild Things Are," minus the forced whimsy.
    • 74 Metascore
    • 60 Keith Uhlich
    Polisse builds to one of the most hilariously misguided climaxes ever conceived; let's just say that this soapy symphony of squalor literally doesn't stick the landing.
    • 73 Metascore
    • 60 Keith Uhlich
    This is a movie about a subculture, made for that subculture; only hard-core Xboxers need apply.
    • 57 Metascore
    • 60 Keith Uhlich
    The rousing speeches and booming battle scenes are all well done as far as blockbuster spectacle goes, but you can't help but feel the filmmakers' resistance to the story's grimmer undercurrents.
    • 47 Metascore
    • 60 Keith Uhlich
    Fans of Moulin Rouge–esque repurposing will be in hog heaven. Everyone else will want to hop that midnight train going anywhere pronto.
    • 68 Metascore
    • 60 Keith Uhlich
    The troubling turns the story takes, which are meant as a rebuke to happily-ever-after stereotypes, are much more interesting in conception than they are in execution.
    • 46 Metascore
    • 60 Keith Uhlich
    Though the story's wrapped-with-a-bow finale is never in doubt-ol' Meathead remains a populist, pandering Hollywood man through and through-Belle Isle still manages to cast enough of an enchanting spell.
    • 56 Metascore
    • 60 Keith Uhlich
    Both Robert and Gus seem defined purely by their eccentric speech patterns, and it takes a while for the duo to register as anything other than acting-exercise conceits. But once the story takes a defiantly odd turn into thriller territory (really an excuse to hole up two talented thespians in a single location), the affected nature of the performances becomes a virtue.
    • 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.
    • 81 Metascore
    • 60 Keith Uhlich
    Ai is a great subject for a documentary, and his charismatic certitude helps to offset Klayman's unfortunate inexperience behind the camera.
    • tbd Metascore
    • 60 Keith Uhlich
    The haphazardness of the film's structure mutes the power of the subjects' recollections.
    • 53 Metascore
    • 60 Keith Uhlich
    This handsomely made spook story (love those echo-prone hallways!) becomes less involving the more the narrative's mysteries are solved. By the time all the tarot cards are on the table, it's likely that you too will feel conned.
    • 77 Metascore
    • 60 Keith Uhlich
    Filho so completely calculates his causes and effects, even going so far as to have the villain of the piece literally swimming with sharks, that you never fully feel the senses-altering charge of a truly impassioned polemic.
    • 66 Metascore
    • 60 Keith Uhlich
    After the story takes a cloyingly sentimental turn, this lean-and-mean thriller becomes bathetically bloated. Just a few spokes short of a wheel, guys.
    • 61 Metascore
    • 60 Keith Uhlich
    Unfortunately, Kim nearly wrecks the film's observational acuteness with a climax that shamelessly steals from Bob Rafelson's classic blue-collar drama "Five Easy Pieces," and this faux-gut-punch finale feels haphazardly sutured on rather than arrived at organically. Guess that ham-fisted opening shot was a sign of things to come.
    • 77 Metascore
    • 60 Keith Uhlich
    A study in simplicity, perhaps too much so. The writer-director is working in the same patiently observant vein as Argentine confederate Lisandro Alonso (Liverpool), especially in the intriguing early scenes, where the adults communicate mostly through furtive glances and expertly modulated body language.
    • 58 Metascore
    • 60 Keith Uhlich
    Adams gets a delectable onscreen partner in Justin Timberlake as a novice scout who takes an interest in Mickey. Even the old half-naked-moonlight-swim gambit feels fresh with these two involved.
    • 69 Metascore
    • 60 Keith Uhlich
    Anna Wintour? Feh! There never was, and never will be, a style icon quite like Diana Vreeland.
    • 84 Metascore
    • 60 Keith Uhlich
    The documentary's scope feels a bit small overall - more concerned with capturing the episodic adventures of these disparate subjects than with connecting their experiences to larger societal ills.
    • 74 Metascore
    • 60 Keith Uhlich
    Though the tale demands a darker outcome, the director disappointingly goes the Mouse House happy-ending route with a reprise of the original short film's finale - one that somehow plays with even more cringeworthy sentimentality.
    • 66 Metascore
    • 60 Keith Uhlich
    Walken is particularly alive in a way he's rarely been since "Catch Me if You Can," adding untold shades to Hans's mystery-shrouded past - wait until you see what's under his cravat - while still giving his singularly eccentric line readings.
    • 57 Metascore
    • 60 Keith Uhlich
    Getting old's a bitch. But the long-in-the-tooth quintet (Chaplin, Fonda, Guy Bedos, Claude Rich and Pierre Richard) at the center of Stéphane Robelin's featherweight French comedy has it all figured out.
    • 71 Metascore
    • 60 Keith Uhlich
    Tediousness sets in eventually; there's only so much zoological abyss-gazing one can do.
    • 61 Metascore
    • 60 Keith Uhlich
    This aesthetically undistinguished yet still engrossing documentary follows the emotionally charged lead-up to the vote on Question One, a 2009 Maine referendum that put the marriage rights of gay and lesbian couples on the state ballot.
    • 61 Metascore
    • 60 Keith Uhlich
    The film's numerous idiosyncrasies - virtues at the outset - ultimately suffocate it.

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