For 618 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 The Strange Case of Angelica
Lowest review score: 20 Lone Survivor
Score distribution:
  1. Negative: 47 out of 618
618 movie reviews
    • 53 Metascore
    • 60 Keith Uhlich
    Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
    • 53 Metascore
    • 20 Keith Uhlich
    Im could care less about these people as characters, presenting them as either obscenely hot or repellently decaying bundles of flesh.
    • 53 Metascore
    • 40 Keith Uhlich
    Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.
    • 53 Metascore
    • 60 Keith Uhlich
    Fists fly furiously and much blood is spilled; there's a sacrifice via sword that's both cringe-inducing and cheerworthy. Even special guest star Jackie Chan gets in on the fun with a hilarious bit of food-jitsu. It's almost enough to make you forget that this entertainingly hollow film is populated entirely with toy soldiers.
    • 53 Metascore
    • 40 Keith Uhlich
    The film is made up of plundered parts from the "Oceans" series and "The Usual Suspects," and—like several of the forged tomes that figure in the plot — it’s a pale imitation.
    • 53 Metascore
    • 40 Keith Uhlich
    Sadly, most of the film's dull edges have to do with De Niro, who is clearly in rest-on-his-laurels mode; at his worst, he approaches radioactive, Robin Williams levels of bathos, as when Jonathan - roaring like a bush-league Lear - is banned from the shelter for bad behavior.
    • 53 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.
    • 53 Metascore
    • 80 Keith Uhlich
    It would be risible if Ozon’s hand didn’t remain so steady and confident throughout, all the way up to a complicatedly upbeat conclusion that recreates the Christian Annunciation with the straightest of faces.
    • 53 Metascore
    • 40 Keith Uhlich
    One's heart sinks the moment the trio is picked up by Prince Caspian (Barnes) and deposited on his ship, the Dawn Treader. Suddenly we're in green-screen land, where everything looks cheap, heavily digital and unfortunately postconverted to 3-D-hardly a fantastical otherworld.
    • 53 Metascore
    • 20 Keith Uhlich
    Hurt tries on an English accent as if he were in the Walmart changing room and a splendid-in-theory supporting cast - Simon Callow, Joanna Lumley, Arta Dobroshi - either ham it up or make moony eyes. Extra discredit to the embarrassingly jaunty score by Sodi Marciszewer, which should be taken behind the recording studio and shot.
    • 53 Metascore
    • 40 Keith Uhlich
    Winterbottom’s inability to bring off this lurid stew of sex and violence is one problem; his (mis)direction of Affleck is another.
    • 53 Metascore
    • 60 Keith Uhlich
    None of the hilarity is enough to keep Wanderlust from feeling like a late-night comedy-show sketch stretched to feature length. But why look a giggle-prone gift horse in the mouth?
    • 53 Metascore
    • 40 Keith Uhlich
    Things quickly fall apart, with a pileup of sub–Rod Serling narrative twists, a choppy action sequence heavy on the Michael Bay slo-mo and a sequel-ready climax that reveals the whole project as little more than a feature-length calling card.
    • 53 Metascore
    • 40 Keith Uhlich
    For a few brief moments, the film becomes something close to Greek mythology, as opposed to graphic-novel imitator. What a feeling!
    • 53 Metascore
    • 40 Keith Uhlich
    Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
    • 53 Metascore
    • 20 Keith Uhlich
    This frenetic horror-comedy from "Bubba Ho Tep's" Don Coscarelli is of the make-it-up-as-you-go-along school of storytelling.
    • 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
    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
    • 20 Keith Uhlich
    What really makes Rudderless a full-blown affront is a late-breaking narrative revelation (no spoilers here) that’s meant to add resonant emotional depth, but instead comes off as jaw-droppingly repugnant. That’s appropriate, though, for a movie with no sense of direction.
    • 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.