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 My Son, My Son, What Have Ye Done
Lowest review score: 20 White House Down
Score distribution:
  1. Negative: 42 out of 562
562 movie reviews
    • 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.
    • 50 Metascore
    • 60 Keith Uhlich
    Other than ludicrously pulpy fun, Anonymous, true to its title, ultimately signifies nothing.
    • 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.
    • 53 Metascore
    • 60 Keith Uhlich
    None of the hilarity is enough to keep Wanderlust from feeling like a late-night comedy-show sketch stretched to feature length. But why look a giggle-prone gift horse in the mouth?
    • 68 Metascore
    • 60 Keith Uhlich
    The troubling turns the story takes, which are meant as a rebuke to happily-ever-after stereotypes, are much more interesting in conception than they are in execution.
    • 57 Metascore
    • 60 Keith Uhlich
    The rousing speeches and booming battle scenes are all well done as far as blockbuster spectacle goes, but you can't help but feel the filmmakers' resistance to the story's grimmer undercurrents.
    • 68 Metascore
    • 60 Keith Uhlich
    The laughs are purely surface; the film's women's-lib pretensions seem grafted on as if to lend significance to a story that would benefit from a lighter, less cerebral touch. Still, it's hard to resist La Deneuve's charms.
    • 44 Metascore
    • 60 Keith Uhlich
    More stupid movies should leave you with such a blissfully stupid smile.
    • 66 Metascore
    • 60 Keith Uhlich
    After the story takes a cloyingly sentimental turn, this lean-and-mean thriller becomes bathetically bloated. Just a few spokes short of a wheel, guys.
    • 58 Metascore
    • 60 Keith Uhlich
    Writer-director Tariq Tapa-who shot much of this vérité-style film by himself-does a beautiful job attuning us to Dilawar's drifting routine, but what's especially striking is how he gives equal weight to the supporting characters.
    • 44 Metascore
    • 60 Keith Uhlich
    Lovingly designed, but dramatically inert.
    • 69 Metascore
    • 60 Keith Uhlich
    The longer this "Abbott and Costello's Lethal Weapon" goes on, the more the fun dissipates - until a queasily violent climax, which, naturally, fully embraces genre stereotypes rather than dismantling them.
    • 47 Metascore
    • 60 Keith Uhlich
    Fans of Moulin Rouge–esque repurposing will be in hog heaven. Everyone else will want to hop that midnight train going anywhere pronto.
    • 51 Metascore
    • 60 Keith Uhlich
    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.
    • 46 Metascore
    • 60 Keith Uhlich
    Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 60 Keith Uhlich
    You can't help feeling that an initially adventurous movie has had its rough edges sanded away.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 60 Keith Uhlich
    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.
    • 62 Metascore
    • 60 Keith Uhlich
    Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.
    • 72 Metascore
    • 60 Keith Uhlich
    Belvaux's tension-building setup is stellar; the follow-through, less so.
    • 70 Metascore
    • 60 Keith Uhlich
    Inventive yet exhausting tale of two circus clowns.
    • 75 Metascore
    • 60 Keith Uhlich
    A Matrix Reloaded–like cliffhanger reminds that this is only the second installment out of four (good lord), but at least the flick leaves us with more than a tinge of interest in whom the odds will favor next.