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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sun
Lowest review score: 20 Jonah Hex
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 81 Metascore
    • 80 Keith Uhlich
    A movie with an unflinchingly tough heart.
    • 64 Metascore
    • 80 Keith Uhlich
    When the action eventually switches to an Austrian rehab retreat, Dalle gets to make like the best of the Old Hollywood divas and waste away with devastating reserve - an icon quietly, crushingly crashing to earth.
    • 55 Metascore
    • 80 Keith Uhlich
    Do you like movies about gladiators? Well, lend me your ears: The Eagle will more than gratify your sword-and-sandal cravings.
    • 58 Metascore
    • 80 Keith Uhlich
    Even the stoniest face will crack when Aladeen sums up our cultural moment in a rousing, uproarious climactic speech worthy of both Chaplin and Team America.
    • 69 Metascore
    • 80 Keith Uhlich
    It would be a Christmas miracle save for one lump of coal: an ear-shattering Justin Bieber song over the end credits. Gotta sell something to the kids at Yuletide.
    • 82 Metascore
    • 80 Keith Uhlich
    Though Stranger by the Lake leans a bit too heavily on its long-take, slow-cinema bona fides, there’s a clear purpose to Guiraudie’s rigorous perspective. He’s out to unearth the very potent (and often terrifying) emotions underlying every explicit act, sexual or otherwise.
    • 86 Metascore
    • 80 Keith Uhlich
    Not a bad setup for a cops-and-robbers thriller, and in the hands of action-movie maestro Johnnie To, the result comes very close to greatness.
    • 67 Metascore
    • 80 Keith Uhlich
    Too many movies come to us as preordained cult objects - this is the real deal.
    • 84 Metascore
    • 80 Keith Uhlich
    Anderson's romantic fantasia is after something much more complicated and profound-an ever-renewing balance between the hopes of youth and the disappointments of age.
    • 76 Metascore
    • 80 Keith Uhlich
    What most distinguishes the redo is the often remarkable use of 3-D: Miike turns the format's inherent limitations, especially the tendency toward visual murkiness, to his advantage, fully immersing us in a world suffused with moral and ethical rot.
    • 82 Metascore
    • 80 Keith Uhlich
    Chomet builds this beguiling symphony of sadness to a poignant finale that does ample justice to the many layers of Tati's tale, both in text and out.
    • 54 Metascore
    • 80 Keith Uhlich
    The director’s latest—a lighthearted romance set in 1920s Germany and France—won’t do much to sway proponents or detractors from their own perspectives, though taken at face value, it’s one of Allen’s most charmingly conceived and performed efforts.
    • 81 Metascore
    • 80 Keith Uhlich
    Watching the formerly spry Harris struggle to maintain a normal life (he's frequently glassy-eyed and jacked on painkillers) emphasizes the underappreciated sacrifices our men and women in uniform make in the name of vaguely defined ideals.
    • 72 Metascore
    • 80 Keith Uhlich
    Delon and Crenna paint an idealized portrait of masculine camaraderie, one that’s exposed at the end of Melville’s bracing last testament as a soul-shattering illusion.
    • 77 Metascore
    • 80 Keith Uhlich
    It's in between the lines that this movingly perceptive film scores a TKO.
    • 79 Metascore
    • 80 Keith Uhlich
    It's easy to think of comics, especially time-tested ones like Rivers, as mechanical laugh-generators. Stern and Sundberg allow her to reveal the deep-rooted humanity of those ever-present quips, and the effect is humbling.
    • 53 Metascore
    • 80 Keith Uhlich
    This is truly De Palma–ville, and the filmmaker’s remake of Alain Corneau’s tale of corporate bloodletting, "Love Crime" (2010), is a welcome return to the carnal shockers that he does so well.
    • tbd Metascore
    • 80 Keith Uhlich
    Sensation trumps cogitation-unsurprising in a Hollywood production-which doesn't negate the enduring allure of this beautiful bauble.
    • 89 Metascore
    • 80 Keith Uhlich
    Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.
    • 69 Metascore
    • 80 Keith Uhlich
    One thing’s certain: This is no swoony love story. It intoxicates all the same.
    • 57 Metascore
    • 80 Keith Uhlich
    Taken on its own fun-over-philosophy terms, this is an exercise in tone-shifting virtuosity.
    • 72 Metascore
    • 80 Keith Uhlich
    Fassbender and his multifaceted allure helps counteract any thematic or conceptual shakiness, as was the case in McQueen's highly uneven debut, "Hunger." One thing's for sure: McQueen has found his De Niro, and he better keep him close.
    • 57 Metascore
    • 80 Keith Uhlich
    Leigh does a stellar job of showing how these events seep into the unaware girl's everyday existence - almost all of the film's sequences are photographed in precisely composed, inherently surreal single shots.
    • 78 Metascore
    • 80 Keith Uhlich
    New Yorkers and those who've been following the neighborhood's plight know exactly how this ends; at the very least, Paravel and Sniadecki have preserved the memory of what was. Sometimes, that's the most you can do.
    • 63 Metascore
    • 80 Keith Uhlich
    A cut above most nonfiction explorations of Katrina, thanks to the ever-empathetic Demme's talent for showcasing the uniquely human qualities of every person he films.
    • 65 Metascore
    • 80 Keith Uhlich
    The movie might very well have come off as a too-clinical experiment if it weren't for Leo, who maintains a rivetingly mysterious aura even as her character's behavior becomes increasingly bizarre.
    • 76 Metascore
    • 80 Keith Uhlich
    The film builds to a shattering climax that works precisely because all involved fully embrace the melodrama. Be sure to bring Kleenex.
    • 79 Metascore
    • 80 Keith Uhlich
    As in his much-lauded "4 Months, 3 Weeks and 2 Days," the latest feature from Palme d’Or–winning filmmaker Cristian Mungiu takes a rigorous approach to the material. But where the previous film — about two women seeking a back-alley abortion — was a reductively dour slog, Beyond the Hills feels more caustically all-encompassing.
    • 74 Metascore
    • 80 Keith Uhlich
    It never feels as if we're watching a brand-name cash-grab, but instead as if we're participating in an endlessly imaginative afternoon of play.
    • 64 Metascore
    • 80 Keith Uhlich
    Every monster-movie archetype is here, from nerdy scientists (Charlie Day and Burn Gorman) to hard-stare leaders (Idris Elba) with a penchant for 11th-hour inspirational speeches. (Watching the former Stringer Bell bellow about “canceling the apocalypse!” is one of those great, giddy pleasures you didn’t know you needed.)

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