Keith Uhlich, Time Out New York
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For 461 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 3.3 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
Average review score: 56
Highest review score:
Annie Hall (1977)
Critic Score 100
Lowest review score:
Pandorum
Critic Score 20
Score distribution:
  1. Positive: 108 out of 461
  2. Mixed: 318 out of 461
  3. Negative: 35 out of 461
461 movie reviews
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    • Metascore: 58
    • Keith Uhlich 60
    Trouble with the Curve
    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.
    • Metascore: 69
    • Keith Uhlich 60
    Diana Vreeland: The Eye Has to Travel
    Anna Wintour? Feh! There never was, and never will be, a style icon quite like Diana Vreeland.
    • Metascore: 84
    • Keith Uhlich 60
    The Waiting Room
    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.
    • Metascore: 74
    • Keith Uhlich 60
    Frankenweenie
    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.
    • Metascore: 66
    • Keith Uhlich 60
    Seven Psychopaths
    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.
    • Metascore: 57
    • Keith Uhlich 60
    All Together
    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.
    • Metascore: 71
    • Keith Uhlich 60
    Bestiaire
    Tediousness sets in eventually; there's only so much zoological abyss-gazing one can do.
    • Metascore: 61
    • Keith Uhlich 60
    Question One
    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.
    • Metascore: 61
    • Keith Uhlich 60
    This Must Be the Place
    The film's numerous idiosyncrasies - virtues at the outset - ultimately suffocate it.
    • Metascore: 67
    • Keith Uhlich 60
    A Late Quartet
    The four leads more often than not transcend the material's calculated moroseness; Ivanir is especially good as a man whose perfectionist facade masks a soul in perpetual turmoil.
    • Metascore: 62
    • Keith Uhlich 60
    Citadel
    The more that fright-flick conventions take over, the more the movie's recognizable and resonant human fears are dulled.
    • Metascore: 81
    • Keith Uhlich 60
    Silver Linings Playbook
    Yet it's impossible to shake the sense that what felt thrillingly, cohesively alive in the director's earlier movies plays here with more laurel-resting creakiness than go-for-broke verve. Russell's once-mercurial assets have become a formula.
    • Metascore: 58
    • Keith Uhlich 60
    Universal Soldier: Day of Reckoning
    It's almost worth wading through the wearisome setup to get to the fun stuff. But there is a reason fast-forward buttons were invented.
    • Metascore: 62
    • Keith Uhlich 60
    Dragon
    Fortunately, there are a good number of Yen-choreographed action scenes to break up the monotony.
    • Metascore: 55
    • Keith Uhlich 60
    Hyde Park on Hudson
    Hyde Park could have been fawningly ponderous; that it's merely an airy trifle puts it a cut above the usual Oscar bait.
    • Metascore: 54
    • Keith Uhlich 60
    Fairhaven
    Though its insights are slight-the movie feels as delicate and ephemeral as its sleepy winter surroundings - you can't help but admire the overall generousness O'Brien shows to his characters and performers.
    • Metascore: 57
    • Keith Uhlich 60
    Mama
    Expertly conjured atmosphere only gets Muschietti so far, but there's enough genuine promise here that you're willing to cut this talented newcomer some slack.
    • Metascore: 74
    • Keith Uhlich 60
    The Pirogue
    There's enough filmmaking talent evident throughout that you wish the journey were more satisfying overall.
    • Metascore: 66
    • Keith Uhlich 60
    Yossi
    The perfectly sculpted, entirely sure-of-himself Tom ultimately seems more of a construct than a character, his carefree nature shaped almost entirely by the very wish-fulfillment clichés that the movie otherwise sidesteps.
    • Metascore: 48
    • Keith Uhlich 60
    Bullet to the Head
    It's pure comic-book malarkey, adapted from a graphic novel by French artist Matz. But the skeletal plot affords Hill the opportunity to go atmospherically hog wild.
    • Metascore: 75
    • Keith Uhlich 60
    Side Effects
    It’s a reasonably diverting piece of work, falling somewhere between the high of "Magic Mike" (2012) and the low of "Haywire" (2011), among his recent efforts.
    • Metascore: 57
    • Keith Uhlich 60
    Rubberneck
    A too-pat ending also spoils Rubberneck (shorter: Mommy made me do it!), though it doesn’t ruin the steely pleasures of the filmmaking.
    • Metascore: 65
    • Keith Uhlich 60
    Red Flag
    Though often funny, there’s a reverse narcissism in the way Karpovsky wallows in his “character’s” off-putting flaws.
    • Metascore: 58
    • Keith Uhlich 60
    Stoker
    Drooling fanboys and "Buffy"-loving academics are sure to go wild — not that there’s anything wrong with that…right? Stoker is a gorgeous wank job; just prepare to hate yourself for loving it.
    • Metascore: 51
    • Keith Uhlich 60
    Jack the Giant Slayer
    So many blockbuster movies are impersonal, micromanaged hashes that Jack, with its bare minimum of craft and commitment, comparatively comes off like a diamond in the rough.
    • Metascore: 44
    • Keith Uhlich 60
    Oz the Great and Powerful
    It’s an earnest hope, to be sure, and the greatest strength of Sam Raimi’s imaginative, if highly uneven, take on L. Frank Baum’s series of children’s stories about that magical land over the rainbow is its unabashed sincerity.
    • Metascore: 65
    • Keith Uhlich 60
    Philip Roth: Unmasked
    Fortunately, Roth himself proves to be a fascinating presence — soft-spoken, sharp and bearing a vague air of melancholy that offsets the surrounding adulation.
    • Metascore: 57
    • Keith Uhlich 60
    Evil Dead (2013)
    What really matters is seeing these pretty people get put through the gory wringer, and once the unholy spirit comes calling, Evil Dead more than delivers.
    • Metascore: 54
    • Keith Uhlich 60
    The Reluctant Fundamentalist
    Ticking-time-bomb suspense is not Nair’s forte, so she relies on Michael Andrews’s Middle East–inflected score to do most of the heavy lifting in the present-day scenes, which feel shapeless and perfunctory.
    • Metascore: 76
    • Keith Uhlich 60
    Mud
    Despite the best efforts of a cast that mixes unstudied newbies such as The Tree of Life’s Sheridan with Hollywood prima donnas like Reese Witherspoon (a starlet-slumming-it distraction as Mud's dim-bulb inamorata), there’s an overall clunkiness that Nichols is unable to overcome.
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