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 Celine and Julie Go Boating (1974)
Lowest review score: 20 Stand Up Guys
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 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.
    • 44 Metascore
    • 60 Keith Uhlich
    More stupid movies should leave you with such a blissfully stupid smile.
    • 71 Metascore
    • 60 Keith Uhlich
    Comparable works like John Gianvito's "Profit Motive and the Whispering Wind," or nearly anything from cine-essayist Chris Marker's oeuvre, mine similar territory much more rewardingly.
    • 64 Metascore
    • 60 Keith Uhlich
    Moment to moment, the film is gripping and beautiful to behold (props to cinematographer Masanobu Takayanagi for the mesmerizingly grainy, achromatic visuals). But caveat emptor to those expecting a hinterlands gloss on "Taken" with rapacious curs in place of nefarious Albanians.
    • 67 Metascore
    • 60 Keith Uhlich
    There's not much beyond all the fawning, but the effusively talented Channing more than deserves the gush.
    • 76 Metascore
    • 60 Keith Uhlich
    Miners' is tiresome and scattershot.
    • 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?
    • 66 Metascore
    • 60 Keith Uhlich
    Carice van Houten (Black Book) is superb as the emotionally unstable Jonker - all manically beaming highs and depressively gloomy lows, a tempestuous force of nature in a movie that too often plays it blandly polite.
    • 49 Metascore
    • 60 Keith Uhlich
    Even this terrifically talented performer can't sell a Shyama-lana-ding-dong of a third-act twist that will make more eyes than heads roll.
    • 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.
    • 46 Metascore
    • 60 Keith Uhlich
    In many ways, this effervescent drama from Susan Seidelman (Desperately Seeking Susan) upends conventions, even when it sticks to a familiar narrative path.
    • 72 Metascore
    • 60 Keith Uhlich
    It's fascinating to be so close to a then-sitting head of state as he negotiates for his homeland's survival, and the news that Nasheed was recently deposed in a coup by Gayoom loyalists makes the hard-won victories he did secure all the more poignant.
    • 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.
    • 63 Metascore
    • 60 Keith Uhlich
    For all the undeniable imaginativeness and visual dazzle (this is Maddin's first entirely digital feature, and it positively glistens), Keyhole ultimately comes off like a feature-length private joke that revels a bit too gleefully in its overall inscrutability. Close, Guy. But no Double Yahtzee.
    • 55 Metascore
    • 60 Keith Uhlich
    You can't help feeling that an initially adventurous movie has had its rough edges sanded away.
    • 80 Metascore
    • 60 Keith Uhlich
    Shots of the kids and their friends running around unfamiliar environments have the fantastical qualities of Spike Jonze's "Where the Wild Things Are," minus the forced whimsy.
    • 74 Metascore
    • 60 Keith Uhlich
    Polisse builds to one of the most hilariously misguided climaxes ever conceived; let's just say that this soapy symphony of squalor literally doesn't stick the landing.

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