For 631 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 5.4 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sun
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 52 out of 631
631 movie reviews
    • 63 Metascore
    • 80 Keith Uhlich
    As engrossing as it is maddening, Pierre Thoretton's documentary on the sale of Yves Saint Laurent's extensive art collection is perched somewhere between a sanded-edged official portrait and a keen examination of affluence run amok.
    • 63 Metascore
    • 40 Keith Uhlich
    This routine animated feature is a perfectly fine thing to waste.
    • 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.
    • 63 Metascore
    • 60 Keith Uhlich
    It’s a kick to see Cera cut loose from his patented befuddled-nerd routine, even if the film’s caricatured performances and fish-in-a-barrel scorn are sure to be monotonous for some.
    • 62 Metascore
    • 20 Keith Uhlich
    By the end of Pray’s skin-deep love letter, only one sweeping reaction seems appropriate: “A pox on all your houses.”
    • 62 Metascore
    • 100 Keith Uhlich
    It's McConaughey who is the real revelation: All Grim Reaper strut and cutthroat stare, he savors each of Letts's vividly ghoulish lines.
    • 62 Metascore
    • 40 Keith Uhlich
    False moments far outweigh the genuine ones, be it smarmy Dan’s indisputable genius (he’s such a stubble-sporting rebel, he refuses to wear suits) or the bogus anticorporate finale that leaves an especially slick aftertaste.
    • 62 Metascore
    • 40 Keith Uhlich
    It’s a shame that Toe to Toe adheres so stridently to Indiewood clichés.
    • 62 Metascore
    • 60 Keith Uhlich
    Anyone who has ever loved a television show can see that Thomas and his crew are working overtime to give VM aficionados everything they want.
    • 62 Metascore
    • 60 Keith Uhlich
    Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.
    • 62 Metascore
    • 80 Keith Uhlich
    The mostly dialogue-free middle section is a scare-film master class - and when a becalmed smile does finally cross his lips, it's in the most giddily mordant of circumstances. As Arthur embraces the darkness, so does the darkness embrace us.
    • 62 Metascore
    • 60 Keith Uhlich
    Imagine "His Girl Friday" crossed with "Armageddon" and you’ll get a sense of the unfortunate disconnect that prevents an enjoyable light entertainment from achieving rom-com nirvana.
    • 62 Metascore
    • 60 Keith Uhlich
    It's prime B-movie material put through the Ridley Scott Cuisinart.
    • 62 Metascore
    • 40 Keith Uhlich
    Spencer, a superb performer mainly known for small character parts, gives a star-making turn as the won't-take-no-guff Minny.
    • 62 Metascore
    • 40 Keith Uhlich
    The film slowly loses the sobering toughness of its initial inquiry, and finally comes off as bloodline-biased hagiography.
    • 62 Metascore
    • 40 Keith Uhlich
    This was Italy's official submission for Best Foreign Film to the 2011 Academy Awards (a red flag more often than not), and, sure enough there's little here that rises above middlebrow.
    • 62 Metascore
    • 60 Keith Uhlich
    Fortunately, there are a good number of Yen-choreographed action scenes to break up the monotony.
    • 62 Metascore
    • 40 Keith Uhlich
    Madden pads the film with shimmering images of Jaipur and its surroundings; a midmovie funeral sequence - 'cause somebody's got to kick the bucket! - even manages to be somewhat evocative and moving. The rest makes you long for senility to set in, but quick.
    • 62 Metascore
    • 40 Keith Uhlich
    Lynskey has raised the quality of innumerable feature films (as a soft-spoken New Republic reporter in Shattered Glass; a housewife on the verge of a nervous breakdown in Away We Go-that film's sole saving grace). So it's a delight to see this stalwart character actor move to center stage, even when the result is so by-the-numbers.
    • 61 Metascore
    • 40 Keith Uhlich
    Since this is a House of Mouse production, sentimental order must inevitably be grafted onto nature's pitiless chaos. The cornball voiceover ascribes human wants and desires to the animals.
    • 28 Metascore
    • 20 Keith Uhlich
    This is hackwork of the highest order, lacking in all poetry and barely comprehensible aurally or visually.
    • 61 Metascore
    • 80 Keith Uhlich
    There are few artists better than Rivette at uncovering the magical (even at its most menacing) in the everyday.
    • 61 Metascore
    • 60 Keith Uhlich
    This is hardly a symphony of terror, but it’s still a solidly composed exercise in suspense.
    • 61 Metascore
    • 20 Keith Uhlich
    The funny thing about all these sub-"Matrix" shenanigans is that they’re genuinely meant to stoke thought and reflection. Frankly, though, few movies have left me feeling as shorn of gray matter.
    • 61 Metascore
    • 40 Keith Uhlich
    For those of us with a love of actorly indulgence, though, the film is a treasure trove, filled with enough molten-gold performances to gild a thousand Oscars.
    • 61 Metascore
    • 100 Keith Uhlich
    And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.
    • 61 Metascore
    • 60 Keith Uhlich
    This is no family-friendly "Peanuts" special.
    • 61 Metascore
    • 60 Keith Uhlich
    The film's numerous idiosyncrasies - virtues at the outset - ultimately suffocate it.
    • 61 Metascore
    • 60 Keith Uhlich
    Unfortunately, Kim nearly wrecks the film's observational acuteness with a climax that shamelessly steals from Bob Rafelson's classic blue-collar drama "Five Easy Pieces," and this faux-gut-punch finale feels haphazardly sutured on rather than arrived at organically. Guess that ham-fisted opening shot was a sign of things to come.
    • 61 Metascore
    • 60 Keith Uhlich
    The story beats are as familiar as they come, and there are a few halfhearted stabs at redeeming Roberts’s clueless character when it would have been better to push her feeble-mindedness to Anna Faris–esque extremes.

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