For 635 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 5.7 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Tinker Tailor Soldier Spy
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 52 out of 635
635 movie reviews
    • 56 Metascore
    • 60 Keith Uhlich
    Both Robert and Gus seem defined purely by their eccentric speech patterns, and it takes a while for the duo to register as anything other than acting-exercise conceits. But once the story takes a defiantly odd turn into thriller territory (really an excuse to hole up two talented thespians in a single location), the affected nature of the performances becomes a virtue.
    • 56 Metascore
    • 40 Keith Uhlich
    Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
    • 56 Metascore
    • 60 Keith Uhlich
    You can’t help but feel all the palpable joy is eliding some darker realities that would lend the copious musical performances a deeper resonance.
    • 56 Metascore
    • 60 Keith Uhlich
    What keeps you watching is the charisma of the performers: Hamm does an amiable riff on his Don Draper persona (he’s cynical before the big melt), Lake Bell is a delight as his tart-tongued love interest, and Sharma and Mittal are all charm as the cultures-uniting underdogs.
    • 56 Metascore
    • 40 Keith Uhlich
    Best is Viggo Mortensen's William S. Burroughs proxy Old Bull Lee, holed up in a perspiration-saturated Louisiana mansion with a shell-shocked Amy Adams and a gas-huffing chamber at the ready.
    • 56 Metascore
    • 40 Keith Uhlich
    Clearly there's a lot of myth-dispelling to do; indeed, the film often seems like a public-service announcement wrapped around a sketchy narrative skeleton.
    • 56 Metascore
    • 60 Keith Uhlich
    Would that the climax lived up to the tension-filled first two thirds. Let’s just say that Non-Stop reaches for some pointed post-9/11 political commentary that almost entirely exceeds its grasp. Total brainlessness, in this case, would have been a virtue.
    • 56 Metascore
    • 60 Keith Uhlich
    The film never entirely overcomes the sense that it's a calling-card vehicle.
    • 56 Metascore
    • 60 Keith Uhlich
    When the monsters finally show themselves, this potent theme is lost amid a lot of proficiently staged but insubstantial scare scenes - heavy on musical stingers and weightless CGI.
    • 55 Metascore
    • 60 Keith Uhlich
    There’s no room for such soul-searching uncertainty with Gibson. After a few rapidly ticked-off minutes of gloom, the mission is clear: Get the sons of bitches, and make ’em pay.
    • 55 Metascore
    • 80 Keith Uhlich
    It’s high time Pedro had a lark. The buoyant and bawdy I’m So Excited plays like a to-hell-with-it-all riff from this seminal Spanish auteur, an excuse to gather his stock company for a breezy 90-minute party.
    • 55 Metascore
    • 40 Keith Uhlich
    There’s a marked sense of retreat in this tale that’s never explored--everyone goes out of the way to remember the past through rose-colored specs.
    • 55 Metascore
    • 40 Keith Uhlich
    There is no depth or resonance to anything we see and hear-everything is as it seems, no more, no less, and the reactionary superficiality dulls the senses. General Orders No. 9 strains for elegiac profundity and ends up as bad, backward-looking poetry.
    • 55 Metascore
    • 80 Keith Uhlich
    The unspoken theme underlying Dickens’s prose--that the money-grubbing Ebenezer is conversing with semblances of his own self--finds near-perfect cinematic expression through Carrey’s efforts.
    • 55 Metascore
    • 40 Keith Uhlich
    Lee and Schamus make history blandly palatable; in the process, they rob the times and the people they’re portraying of their complications.
    • 55 Metascore
    • 80 Keith Uhlich
    Do you like movies about gladiators? Well, lend me your ears: The Eagle will more than gratify your sword-and-sandal cravings.
    • 55 Metascore
    • 40 Keith Uhlich
    For all of Cloud Atlas's pseudorevolutionary blather about upending the "natural order," the execution couldn't be squarer.
    • 55 Metascore
    • 40 Keith Uhlich
    Too-cutesy conceits such as Hitch's imagined conversations with serial killer Ed Gein (Michael Wincott) feebly attempt to ground the story in psychological terra firma, while horribly on-the-nose dialogue flatters those viewers who prefer to keep their sense of cinema history on fan-mag frivolous levels.
    • 55 Metascore
    • 60 Keith Uhlich
    Hyde Park could have been fawningly ponderous; that it's merely an airy trifle puts it a cut above the usual Oscar bait.
    • 55 Metascore
    • 60 Keith Uhlich
    Hellion aims to cut deep, striking a tone that melds the hysterical moralism of Larry Clark’s Kids (1995) with the coming-of-age melancholy of Mud’s Jeff Nichols (also this film’s executive producer).
    • 55 Metascore
    • 40 Keith Uhlich
    There’s little of the Church’s perspective in this doc, but you can’t really fault the filmmakers--Mormon leaders refused several overtures to participate. Read more: http://newyork.timeout.com/articles/film/86550/the-mormon-proposition-film-review#ixzz0r2j38wUF
    • 55 Metascore
    • 40 Keith Uhlich
    2 Guns quickly degenerates into boilerplate Hollywood sound and fury, complete with a climactic Mexican standoff that revolves around a massive, burning pile of money. Irony, thou art lost.
    • 55 Metascore
    • 40 Keith Uhlich
    In a word: Ugh.
    • 55 Metascore
    • 60 Keith Uhlich
    You can't help feeling that an initially adventurous movie has had its rough edges sanded away.
    • 55 Metascore
    • 40 Keith Uhlich
    Yet worst of all is the way the film ultimately reveals its humanistic setup as a lazy pretext to redeem Damon's big-business apologist through the healing power of nature. He's not the only one who should be put out to pasture.
    • 55 Metascore
    • 40 Keith Uhlich
    Aside from a few witty Looney Tunes–esque sight gags, such as one hilarious image of a woolly mammoth being swallowed up by the tectonically shifting earth, the stereoscopic visuals are a busy, personality-free digital blur.
    • 55 Metascore
    • 60 Keith Uhlich
    Two monologues-one in which the Hobo compares himself to a bear, the other a Travis Bickle–like screed delivered to a roomful of increasingly distressed babies-are damn near Shakespearean. It's a shame the performance is contained in a Z-movie patchwork that's a bit too knowingly repugnant.
    • 55 Metascore
    • 60 Keith Uhlich
    Unlike Romero’s film, what’s missing is a trenchant sense of connection to our historical moment.
    • 55 Metascore
    • 60 Keith Uhlich
    Like so many Doors chroniclers, DiCillo can’t help but fall under the singer’s spell; it’s understandable, but frustrating.
    • 55 Metascore
    • 60 Keith Uhlich
    Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.

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