For 595 reviews, this critic has graded:
  • 33% higher than the average critic
  • 1% same as the average critic
  • 66% 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
Average review score: 56
Highest review score: 100 The Headless Woman
Lowest review score: 20 Abduction
Score distribution:
  1. Negative: 44 out of 595
595 movie reviews
    • 67 Metascore
    • 60 Keith Uhlich
    Visual Acoustics goes out of its way to remain as kindly and pleasing as Shulman himself.
    • 72 Metascore
    • 60 Keith Uhlich
    Adela’s troubles feel slight and underdeveloped in the face of the world around her; it’s all too appropriate, in the end, that nature swallows her whole.
    • 69 Metascore
    • 60 Keith Uhlich
    Cage is not quite Aguirre or Fitzcarraldo in the Big Easy. But his performance hits all the right mythopoetic beats, rising above the thin script and late-night-cable aesthetic.
    • 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.
    • 67 Metascore
    • 60 Keith Uhlich
    Terrific performances and superb cinematography (by Claire Denis’s right hand, Agnès Godard) lift cowriter-director Ursula Meier’s feature debut above its thuddingly metaphorical premise.
    • 63 Metascore
    • 60 Keith Uhlich
    It’s a kick to see Cera cut loose from his patented befuddled-nerd routine, even if the film’s caricatured performances and fish-in-a-barrel scorn are sure to be monotonous for some.
    • 67 Metascore
    • 60 Keith Uhlich
    All the retroactively enlightened symbolism gets monotonous, and reaches an absurd apex with the introduction of a party-line newspaperman played by that scowling emblem of Teutonic depravity, Ulrich Tukur.
    • 64 Metascore
    • 60 Keith Uhlich
    Somewhat underwhelming sequel.
    • 42 Metascore
    • 60 Keith Uhlich
    John Travolta breaks the braggadocio meter in the latest tightly wound actioner from "Taken’s" Pierre Morel.
    • 55 Metascore
    • 60 Keith Uhlich
    Unlike Romero’s film, what’s missing is a trenchant sense of connection to our historical moment.
    • 70 Metascore
    • 60 Keith Uhlich
    The film lurches through narrative incidents: Battle scenes, political intrigue and a ticking-time-bomb love triangle are all pitched at the level of mundane competence and rarely get the blood racing.
    • 36 Metascore
    • 60 Keith Uhlich
    This is one case where there’s more life in the morgue than out.
    • 55 Metascore
    • 60 Keith Uhlich
    Like so many Doors chroniclers, DiCillo can’t help but fall under the singer’s spell; it’s understandable, but frustrating.
    • 81 Metascore
    • 60 Keith Uhlich
    About as deep as a kiddie pool, which isn't to say it's an unpleasant frolic.
    • 75 Metascore
    • 60 Keith Uhlich
    One senses this is a production better suited to the stage.
    • 64 Metascore
    • 60 Keith Uhlich
    A believably unbalanced Bening scores the movie’s true coup: Karen’s revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance.
    • 76 Metascore
    • 60 Keith Uhlich
    When The Father of My Children shifts focus to Grégoire’s wife (Caselli) and children (the eldest is beautifully played by De Lencquesaing’s actual daughter, Alice), Hansen-Løve’s hand steadies, and she reveals a true talent for intimate, behavioral observation.
    • 74 Metascore
    • 60 Keith Uhlich
    The filmmakers do a good job of laying out the whos, whys and wheres through diagrams, reenactments and testimonials from veterans on both sides of the skirmish.
    • 45 Metascore
    • 60 Keith Uhlich
    The aural and visual overload that marks most of the director's work is here in spades--few documentaries look and sound so distinctive.
    • 72 Metascore
    • 60 Keith Uhlich
    The setup is pure Looney Tunes, and indeed, Despicable Me is at its best when trading in the anything-for-a-laugh prankery that was a specialty of the Termite Terrace crowd.
    • 49 Metascore
    • 60 Keith Uhlich
    Her (Angela Ismailos) heart's in the right place, but her subjects' ruminations demand a much larger canvas.
    • 86 Metascore
    • 60 Keith Uhlich
    Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest.
    • 47 Metascore
    • 60 Keith Uhlich
    The sights and sounds are splendid--a lovingly hand-detailed portside city, a touching musical interlude in a windswept field--though they're largely disconnected from the narrative proper.
    • 62 Metascore
    • 60 Keith Uhlich
    It's prime B-movie material put through the Ridley Scott Cuisinart.
    • 45 Metascore
    • 60 Keith Uhlich
    The casting, from lead roles to supporting, is uniformly terrific.
    • 60 Metascore
    • 60 Keith Uhlich
    This is the kind of movie in which it's considered the zenith of meta-wit to have a slumming Robert De Niro (as Machete's racist politico nemesis) drive a taxi.
    • 72 Metascore
    • 60 Keith Uhlich
    Gould is as much of a mystery at the end as at the beginning. You get the feeling that's the way he'd have wanted it.
    • 37 Metascore
    • 60 Keith Uhlich
    Anderson makes often-inspiring use of the 3-D effects.
    • 65 Metascore
    • 60 Keith Uhlich
    The intention outweighs the execution, though there are still pleasures to be had.
    • 56 Metascore
    • 60 Keith Uhlich
    The film never entirely overcomes the sense that it's a calling-card vehicle.