For 599 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 Almayer's Folly
Lowest review score: 20 Cop Out
Score distribution:
  1. Negative: 44 out of 599
599 movie reviews
    • 53 Metascore
    • 60 Keith Uhlich
    This handsomely made spook story (love those echo-prone hallways!) becomes less involving the more the narrative's mysteries are solved. By the time all the tarot cards are on the table, it's likely that you too will feel conned.
    • 53 Metascore
    • 40 Keith Uhlich
    Niccol's attempts at satire are toothless.
    • 52 Metascore
    • 20 Keith Uhlich
    What played as rousingly dumb fun in "Independence Day" (1996) — all those pie-eyed nationalistic monologues, and U.S. landmarks reduced to rubble — now come off as callously insensitive, even with tongue firmly in cheek.
    • 52 Metascore
    • 80 Keith Uhlich
    This is truly De Palma–ville, and the filmmaker’s remake of Alain Corneau’s tale of corporate bloodletting, "Love Crime" (2010), is a welcome return to the carnal shockers that he does so well.
    • 52 Metascore
    • 80 Keith Uhlich
    Thompson's imagination-she's also the screenwriter-knows no bounds, and she does a brilliant job of connecting the fantastical elements to the sobering realities of life during wartime.
    • 52 Metascore
    • 60 Keith Uhlich
    A Euro gloss on "Pretty Woman" suddenly turns into "Occupy Gaul."
    • 52 Metascore
    • 40 Keith Uhlich
    As billion-dollar Hollywood franchises go, this is one of the drawn-out dumbest. The stake through the heart comes not a moment too soon.
    • 52 Metascore
    • 60 Keith Uhlich
    Chu does his best to humanize his subject, showing him surrounded by devoted friends and family, and wringing much drama from an on-the-road vocal-cord strain.
    • 52 Metascore
    • 60 Keith Uhlich
    Don't go in expecting scares so much as laughs. Scream 4 is a better "Scary Movie" than any of the "Scary Movies" ever were, from its inventively gut-busting kills (watch out for that mail slot!) to the unintentionally humorous sight of the three leads acting as if they're in three separate films.
    • 52 Metascore
    • 60 Keith Uhlich
    Clooney occasionally shows a surer hand: He gets great work from Downton Abbey’s Bonneville — notably in an emotionally charged scene revolving around Michelangelo’s Madonna of Bruges — and has a fine monologue himself, in which Stokes dresses down a high-ranking German commander (a moving encapsulation of the American spirit at its best).
    • 52 Metascore
    • 40 Keith Uhlich
    Good actors like Vera Farmiga and Brendan Gleeson show up to bust balls and bark expository dialogue with check-in-the-bank-yet? proficiency. Add in a couple of dully pro forma narrative twists to keep you awake in between shots of distractingly exotic South African scenery, and you've got a first-quarter Hollywood release par excellence. Meaning not.
    • 52 Metascore
    • 40 Keith Uhlich
    As with many young-adult book-to-film series, Beautiful Creatures plays like an illustrated compendium of scenes from the novel, as opposed to a finely tuned narrative all its own.
    • 51 Metascore
    • 40 Keith Uhlich
    Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
    • 51 Metascore
    • 40 Keith Uhlich
    The badly miscalculated meat of the film is an endless parade of to-camera addresses by performers such as Lindsay Lohan, Viola Davis and Uma Thurman, all reading clumsily from Monroe's recently discovered letters and journal entries as if it were final-exam time at the Actors Studio.
    • 51 Metascore
    • 40 Keith Uhlich
    A better movie would have explored Foster's way-of-the-future objectives with more beyond-the-hype insight and less Zen-master bullshit.
    • 51 Metascore
    • 40 Keith Uhlich
    The movie amounts to little more than Marky Mark's South American Vacation.
    • 51 Metascore
    • 80 Keith Uhlich
    It isn't the first time death has figured in an Allen movie, but the way he grapples with it here (leaving each character at a moment of irresolution comparable to staring down the man with the scythe) is much more potent and direct.
    • 51 Metascore
    • 40 Keith Uhlich
    Aside from a few inspired vistas and alien life-forms (the Road Runner–fast red planet dog Woola is sure to sell a bazillion action figures), John Carter is as deadly dull as its basso-voiced, beefcake slab of a star, Taylor Kitsch.
    • 51 Metascore
    • 60 Keith Uhlich
    So many blockbuster movies are impersonal, micromanaged hashes that Jack, with its bare minimum of craft and commitment, comparatively comes off like a diamond in the rough.
    • 51 Metascore
    • 40 Keith Uhlich
    Only Jones seems most at home, striking just the right note of low-key malevolence. You’d follow him anywhere — maybe even into a better movie.
    • 51 Metascore
    • 60 Keith Uhlich
    Melodrama often risks the ridiculous to achieve the sublime, and though this unabashedly earnest tearjerker doesn’t completely transcend its narrative absurdities, it’s enough of a distinctively odd duck to keep you engaged.
    • 51 Metascore
    • 40 Keith Uhlich
    Don’t look to this skin-deep biopic to offer any insights beyond the head-slappingly superficial.
    • 51 Metascore
    • 40 Keith Uhlich
    The tone never stops waffling, and nothing truly revelatory ever emerges about those terrible few days in Texas. What we’re left with is the Disney theme-park version of history — all waxworks and weepiness.
    • 50 Metascore
    • 60 Keith Uhlich
    Other than ludicrously pulpy fun, Anonymous, true to its title, ultimately signifies nothing.
    • 50 Metascore
    • 40 Keith Uhlich
    The trek to get there is sluggish at best, torturous at worst. March away, penguins. Far away.
    • 50 Metascore
    • 60 Keith Uhlich
    Antal and his performers’ pure B-movie esprit is undeniable.
    • 50 Metascore
    • 20 Keith Uhlich
    Interminable scenes of macho posturing and mock-Tarantino dialogue (including a lengthy dissection of the word fags!) mark time between a number of ineptly staged car chases that would embarrass the makers of "Cannonball Run II."
    • 50 Metascore
    • 40 Keith Uhlich
    Whether blithely comparing American prisons to retirement homes or gleefully recalling the time he chewed off his own fingers in Siberia, the moonlighting German New Wave auteur injects some much-needed black humor into what is otherwise a soporific star vehicle.
    • 50 Metascore
    • 60 Keith Uhlich
    Fortunately, Teegarden and McDonell make up for the hand-me-down plotting with a sweet, unaffected chemistry.
    • 50 Metascore
    • 40 Keith Uhlich
    A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)