For 619 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 2.8 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Not Fade Away
Lowest review score: 20 Beastly
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 74 Metascore
    • 60 Keith Uhlich
    What begins as a tense, inventive suspense film becomes, to paraphrase Doctor Who, a wibbly-wobbly, timey-wimey, mushy-wushy mess. That's decidedly NOT fantastic.
    • 31 Metascore
    • 60 Keith Uhlich
    The belly laughs do come, many of them courtesy of the mechanical bird companion.
    • 65 Metascore
    • 60 Keith Uhlich
    Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
    • 52 Metascore
    • 60 Keith Uhlich
    Don't go in expecting scares so much as laughs. Scream 4 is a better "Scary Movie" than any of the "Scary Movies" ever were, from its inventively gut-busting kills (watch out for that mail slot!) to the unintentionally humorous sight of the three leads acting as if they're in three separate films.
    • 50 Metascore
    • 60 Keith Uhlich
    Fortunately, Teegarden and McDonell make up for the hand-me-down plotting with a sweet, unaffected chemistry.
    • 55 Metascore
    • 60 Keith Uhlich
    Two monologues-one in which the Hobo compares himself to a bear, the other a Travis Bickle–like screed delivered to a roomful of increasingly distressed babies-are damn near Shakespearean. It's a shame the performance is contained in a Z-movie patchwork that's a bit too knowingly repugnant.
    • 45 Metascore
    • 60 Keith Uhlich
    That T.J. and his family willingly allow this headbanging psycho(analyst) to move into their cluttered, dankly lit abode-the emotional damage is palpable, yo!-is just one of the film's many eyebrow-raising contrivances.
    • 77 Metascore
    • 60 Keith Uhlich
    The kids pick up the filmmakers' lyrical slack more often than not, but this ode to the power of verse could really use a redraft.
    • 67 Metascore
    • 60 Keith Uhlich
    For an animation studio that too often specializes in the frivolous and glib (begone, Shrek series!), the move to the dark side is refreshing.
    • 67 Metascore
    • 60 Keith Uhlich
    The film's commitment to representing the harsh truths of an unfortunate historical moment is admirable, but it tends to grate rather than illuminate.
    • 64 Metascore
    • 60 Keith Uhlich
    As to the movie's three sections, the best comes first, as an eclectic "cast" of characters (among them philosopher Alain Badiou and musician Patti Smith) pontificate their way around a lavish Mediterranean cruise ship.
    • 71 Metascore
    • 60 Keith Uhlich
    That One Lucky Elephant ultimately comes down on the side of anthropomorphizing Flora and her kind is extremely disappointing - a little clear-eyed ambivalence would have helped the film feel more focused and less like patchwork.
    • 68 Metascore
    • 60 Keith Uhlich
    The falsely euphoric close is a big misstep - Pulitzers, it would seem, are the ultimate Band-Aid. What was that old adage about printing the legend?
    • 83 Metascore
    • 60 Keith Uhlich
    The good news is that the film's stylistic excesses don't negate the many fascinating aspects of Nim's story.
    • 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.

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