For 627 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 4.1 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Headless Woman
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 51 out of 627
627 movie reviews
    • 88 Metascore
    • 60 Keith Uhlich
    Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp.
    • 86 Metascore
    • 60 Keith Uhlich
    Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest.
    • 47 Metascore
    • 40 Keith Uhlich
    The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
    • 85 Metascore
    • 40 Keith Uhlich
    Lone Scherfig directs it all as if it were a breezy lark, so a third-act tonal shift makes for an incongruous, excessively moralistic fit with everything that’s preceded. Most insulting, though, is the way in which the climactic passages miraculously tidy up every frayed edge of Jenny’s life.
    • 84 Metascore
    • 60 Keith Uhlich
    That the duo will work their way back to each other is never in doubt, although Chazelle doesn't succumb to easy sentiment. If anything, he moves too far in the other direction, aiming for a wizened ambiguity that doesn't entirely come off.
    • 84 Metascore
    • 60 Keith Uhlich
    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.
    • 83 Metascore
    • 60 Keith Uhlich
    The question lingers as the movie comes to its triumphant body-swapping close: Is this a pro-environment parable or a prophecy of virtual realities yet to come? Cameron's new world may very well be a verdant Matrix.
    • 83 Metascore
    • 60 Keith Uhlich
    It’s unfortunate that the result is so unaffecting, especially in light of all the things the director does right.
    • 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.
    • 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.
    • 83 Metascore
    • 40 Keith Uhlich
    Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
    • 81 Metascore
    • 40 Keith Uhlich
    What starts as an intriguing reverie ends as a hollow allegory.
    • 81 Metascore
    • 40 Keith Uhlich
    Once Miller lays all his cards on the table, however, you realize you haven’t been watching people struggling with the very real temptations of unchecked privilege, so much as fumbling blindly in a glib, gloomy satire of American exceptionalism.
    • 81 Metascore
    • 40 Keith Uhlich
    Writer-director Jane Campion approaches the tale with an artiste’s respectful solemnity, but it too often comes off like "Twilight" transplanted across oceans and centuries.
    • 81 Metascore
    • 60 Keith Uhlich
    Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.
    • 81 Metascore
    • 40 Keith Uhlich
    A grimy kitchen-sink melodrama with an Ajax cleanser script: The muck is all surface, the turmoil cleanly shallow and contrived, though never less than gripping.
    • 81 Metascore
    • 60 Keith Uhlich
    Ai is a great subject for a documentary, and his charismatic certitude helps to offset Klayman's unfortunate inexperience behind the camera.
    • 81 Metascore
    • 60 Keith Uhlich
    The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
    • 81 Metascore
    • 60 Keith Uhlich
    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.
    • 80 Metascore
    • 60 Keith Uhlich
    About as deep as a kiddie pool, which isn't to say it's an unpleasant frolic.
    • 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.
    • 80 Metascore
    • 60 Keith Uhlich
    As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.
    • 80 Metascore
    • 40 Keith Uhlich
    The director races far too quickly to get to his ashes-to-ashes, dust-to-dust punch line. This is the film of a pretender, not a believer.
    • 79 Metascore
    • 40 Keith Uhlich
    Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
    • 79 Metascore
    • 40 Keith Uhlich
    Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
    • 78 Metascore
    • 60 Keith Uhlich
    Loznitsa would have done better to embrace the story’s enigmas as opposed to explicate them.
    • 78 Metascore
    • 60 Keith Uhlich
    The movie feels like too much of a lark. To paraphrase the play’s voice of reason, Friar Francis, it would be better if Whedon paused awhile and let his counsel sway us more.
    • 77 Metascore
    • 60 Keith Uhlich
    A study in simplicity, perhaps too much so. The writer-director is working in the same patiently observant vein as Argentine confederate Lisandro Alonso (Liverpool), especially in the intriguing early scenes, where the adults communicate mostly through furtive glances and expertly modulated body language.
    • 77 Metascore
    • 60 Keith Uhlich
    Filho so completely calculates his causes and effects, even going so far as to have the villain of the piece literally swimming with sharks, that you never fully feel the senses-altering charge of a truly impassioned polemic.
    • 77 Metascore
    • 40 Keith Uhlich
    Though the Tavianis’ intent is clear—to comment on the thin line separating part and performer, as well as on the quite literally liberating powers of art—the meanings rarely emerge with any elegance or resonance. Hardly a dish fit for the gods.

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