For 562 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 2.6 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
Average review score: 56
Highest review score: 100 The Sun
Lowest review score: 20 47 Ronin
Score distribution:
  1. Negative: 42 out of 562
562 movie reviews
    • 72 Metascore
    • 60 Keith Uhlich
    Belvaux's tension-building setup is stellar; the follow-through, less so.
    • 74 Metascore
    • 60 Keith Uhlich
    Unlike a great Morris film such as "Gates of Heaven" or "Mr. Death," where the quirks of character feel connected to a larger, profoundly insightful vision of humanity, Tabloid never gets beyond its idiosyncratic surface.
    • 68 Metascore
    • 60 Keith Uhlich
    It's especially disappointing when the story takes an inevitable turn to starry-eyed mush, dulling the sharp satire of the crazy, stupid ins and outs of romantic entanglement with an unconvincingly saccharine one-true-love-for-all moral.
    • 59 Metascore
    • 60 Keith Uhlich
    The directors rarely go beyond the experiential to provide larger, lasting insight into the journey's generational and historical importance. As such, the comedown from this Trip is a real bitch.
    • 49 Metascore
    • 60 Keith Uhlich
    It's hard to hate a movie that affectionately references the oeuvre of Kathryn Bigelow (both The Hurt Locker and Point Break!) and uses a whiny Third Eye Blind ballad as an acidic punch line.
    • 73 Metascore
    • 60 Keith Uhlich
    The subjects - a husband and wife struggling to make ends meet, mostly for the well-being of their infant daughter - are eminently engaging.
    • 70 Metascore
    • 60 Keith Uhlich
    Inventive yet exhausting tale of two circus clowns.
    • 36 Metascore
    • 60 Keith Uhlich
    The film's secret weapon proves to be Freddy Krueger–fingernailed witch Marique, whom Rose McGowan plays with the kind of fuck-it-all brio - imagine a cross between Madeline Kahn in "History of the World: Part I" and Lady Gaga - that should garner her a Razzie and an Oscar.
    • 45 Metascore
    • 60 Keith Uhlich
    The jittery aesthetic is a bit grating - there's a three-cut minimum per roundhouse kick - but the spectacularly named Olivier Megaton (Transporter 3) still manages to deliver the action-film goods.
    • 56 Metascore
    • 60 Keith Uhlich
    When the monsters finally show themselves, this potent theme is lost amid a lot of proficiently staged but insubstantial scare scenes - heavy on musical stingers and weightless CGI.
    • 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.