For 623 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 3.4 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Blue Beard
Lowest review score: 20 No One Lives
Score distribution:
  1. Negative: 48 out of 623
623 movie reviews
    • tbd Metascore
    • 100 Keith Uhlich
    Strangely enough, our knowledge of what’s to come makes Word Is Out that much more affecting, because it shows that there were—and are—pockets of peace amid the brutality of an ongoing civil-rights struggle.
    • tbd Metascore
    • 100 Keith Uhlich
    The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
    • 92 Metascore
    • 100 Keith Uhlich
    It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.
    • 91 Metascore
    • 100 Keith Uhlich
    Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.
    • 91 Metascore
    • 80 Keith Uhlich
    A moving meditation on history, knowledge and mortality.
    • 90 Metascore
    • 100 Keith Uhlich
    Sure it is - and a great one at that.
    • 89 Metascore
    • 80 Keith Uhlich
    Fortunately, Oppenheimer keeps the film focused on the highly complicated Anwar — a charismatic devil if ever there was one — observing as this strange reckoning with the past slowly breaks down his defenses.
    • 89 Metascore
    • 100 Keith Uhlich
    The popular view of art is that it belongs to the masses. Wiseman casts a more skeptical eye, questioning such egalitarianism with cold, hard historical context. Yet he simultaneously acknowledges that these works live on far beyond their original purpose, even if, as the film’s bold, brilliant climax suggests, they may eventually play to an audience of none.
    • 89 Metascore
    • 80 Keith Uhlich
    Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.
    • 88 Metascore
    • 80 Keith Uhlich
    It will test your faith in humanity, but Hersonski's film is nonetheless a brilliant reminder of the importance of bearing witness.
    • 87 Metascore
    • 100 Keith Uhlich
    By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.
    • 87 Metascore
    • 100 Keith Uhlich
    What you see and hear always seems perfectly natural, even if you can't exactly say why. Who needs words when you have cinema?
    • 87 Metascore
    • 100 Keith Uhlich
    Those Dardenne brothers…still making great movies with second-nature ease.
    • 86 Metascore
    • 100 Keith Uhlich
    You could hardly ask for a more beautiful vision of souls in transit.
    • 86 Metascore
    • 80 Keith Uhlich
    Godly as the monks are, they are still human-which makes their ultimate sacrifice all the more devastating.
    • 86 Metascore
    • 80 Keith Uhlich
    Not a bad setup for a cops-and-robbers thriller, and in the hands of action-movie maestro Johnnie To, the result comes very close to greatness.
    • 85 Metascore
    • 100 Keith Uhlich
    The Cold War is over, but director Tomas Alfredson (Let the Right One In) and his collaborators have brought those suspicion-fueled days to vivid life in this masterful adaptation of John le Carré's beloved 1974 spy novel.
    • 85 Metascore
    • 100 Keith Uhlich
    Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.
    • 85 Metascore
    • 100 Keith Uhlich
    Sokurov, who also acted as director of photography, films the character and his surroundings with the eye of a newly arrived visitor to another world.
    • 85 Metascore
    • 80 Keith Uhlich
    It’s almost impossible to describe the narrative specifics of The Past without making the movie seem ridiculously hammy. Indeed, several twists involving Samir, a dry cleaner with plenty of his own troubles, tip a bit into hoary melodramatics.
    • 85 Metascore
    • 100 Keith Uhlich
    The Tree of Life enthralls right from the start.
    • 84 Metascore
    • 80 Keith Uhlich
    Anderson's romantic fantasia is after something much more complicated and profound-an ever-renewing balance between the hopes of youth and the disappointments of age.
    • 84 Metascore
    • 80 Keith Uhlich
    This is an exquisite portrait of a family navigating the wreckage imparted to them by one of their own.
    • 84 Metascore
    • 80 Keith Uhlich
    The lengthy final two shots (each running more than ten minutes) rank among the best work this inimitable artist has ever done.
    • 83 Metascore
    • 100 Keith Uhlich
    Indeed, you leave the film feeling like Wiseman has given you a glimpse of one of those ephemeral ports in a storm to which all of us retreat at times.
    • 83 Metascore
    • 100 Keith Uhlich
    This is Young in his playroom, grabbing his toys at random while indulging his every antimelodic whim, and Demme’s off-the-cuff approach makes for the perfect aesthetic complement.
    • 83 Metascore
    • 80 Keith Uhlich
    A 25-words-or-less pitch for The Day He Arrives - shot in luminous black-and-white - might go something like: "Hong Sang-soo does Groundhog Day."
    • 82 Metascore
    • 100 Keith Uhlich
    Moreover, the story doesn’t climax in all’s-well-that-ends-well matrimony, instead building to a beautifully bittersweet moment of self-realization, one with a light-touch profundity that would make the Bard proud.
    • 82 Metascore
    • 80 Keith Uhlich
    Chomet builds this beguiling symphony of sadness to a poignant finale that does ample justice to the many layers of Tati's tale, both in text and out.
    • 82 Metascore
    • 80 Keith Uhlich
    Coleman's life and work are treated as a continuum, which Clarke pulls from at will.

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