For 592 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 2.7 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
Average review score: 56
Highest review score: 100 Goodbye First Love
Lowest review score: 20 Free Birds
Score distribution:
  1. Negative: 44 out of 592
592 movie reviews
    • 49 Metascore
    • 40 Keith Uhlich
    Gerwig is plenty charming, considering the rote stuff she has to work with. Yet this still feels like a real devolution - hopefully short-lived - after her distinctively eccentric turns in "Greenberg" and "Damsels in Distress."
    • 49 Metascore
    • 40 Keith Uhlich
    Let’s not dance around it: Nine--is a dud.
    • 49 Metascore
    • 60 Keith Uhlich
    It's hard to hate a movie that affectionately references the oeuvre of Kathryn Bigelow (both The Hurt Locker and Point Break!) and uses a whiny Third Eye Blind ballad as an acidic punch line.
    • 49 Metascore
    • 60 Keith Uhlich
    Even this terrifically talented performer can't sell a Shyama-lana-ding-dong of a third-act twist that will make more eyes than heads roll.
    • 49 Metascore
    • 40 Keith Uhlich
    It's a pleasure to watch the granite-faced action star do his own stunts, particularly a death-defying leap from a bridge. Yet everything feels hurried.
    • 48 Metascore
    • 60 Keith Uhlich
    Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
    • 48 Metascore
    • 60 Keith Uhlich
    It's pure comic-book malarkey, adapted from a graphic novel by French artist Matz. But the skeletal plot affords Hill the opportunity to go atmospherically hog wild.
    • 48 Metascore
    • 40 Keith Uhlich
    That all sours by the time of the film's "shocking" climax, which is so hilariously telegraphed, it plays like a Benny Hill gag rather than a tear-duct stoker.
    • 48 Metascore
    • 40 Keith Uhlich
    Credit Broderick and the cast for putting across the fey Indiewood bullcrap with committed, nearly convincing effort.
    • 48 Metascore
    • 40 Keith Uhlich
    Writer-director Nick Tomnay needlessly convolutes what should have been a taut, focused two-hander with flashbacks, alternate realities and too-clever-by-half reversals.
    • 47 Metascore
    • 40 Keith Uhlich
    As in the first film, the seasoned-pro cast provides the few fleeting pleasures to be found.
    • 47 Metascore
    • 60 Keith Uhlich
    The divas rule in this glossy musical.
    • 47 Metascore
    • 60 Keith Uhlich
    We certainly need all the ecological jeremiads we can get. But must they be so numbingly pedantic?
    • 47 Metascore
    • 80 Keith Uhlich
    It still works its way under your skin and, by the time the highly disturbed Frank’s casualties come back to haunt him en masse, cuts sanguinely to the heart.
    • 47 Metascore
    • 60 Keith Uhlich
    Fans of Moulin Rouge–esque repurposing will be in hog heaven. Everyone else will want to hop that midnight train going anywhere pronto.
    • 47 Metascore
    • 20 Keith Uhlich
    Even supremely talented actors like Melissa Leo (as a confidently sexy trucker) and Brendan Sexton III (as a train-station beggar) are stifled by all the pseudo-redemptive mush.
    • 47 Metascore
    • 60 Keith Uhlich
    The sights and sounds are splendid--a lovingly hand-detailed portside city, a touching musical interlude in a windswept field--though they're largely disconnected from the narrative proper.
    • 47 Metascore
    • 40 Keith Uhlich
    The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
    • 46 Metascore
    • 40 Keith Uhlich
    So narratively old-fashioned it creaks.
    • 46 Metascore
    • 40 Keith Uhlich
    The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."
    • 46 Metascore
    • 60 Keith Uhlich
    The filmmaker's work is infinitely more exhilarating when he's relieved of the need to be in any way serious. He should play dumb more often.
    • 46 Metascore
    • 60 Keith Uhlich
    Like all of Tarsem's films, story takes a backseat to visuals, and there's plenty to pop the eyes-love those life-size string-puppet assassins!-if not, ultimately, to stir the soul.
    • 46 Metascore
    • 60 Keith Uhlich
    In many ways, this effervescent drama from Susan Seidelman (Desperately Seeking Susan) upends conventions, even when it sticks to a familiar narrative path.
    • 46 Metascore
    • 60 Keith Uhlich
    Once the undead start walking, however, the film loses some of its footing: Most of the bloodletting is staged with quick-cut inelegance better suited to the hack horror production of your choosing, though there’s still a potent air of hopelessness that lingers as the cast is winnowed away "Ten Little Indians"–style.
    • 46 Metascore
    • 20 Keith Uhlich
    This smug and callous action-comedy is about nothing but teeth.
    • 46 Metascore
    • 60 Keith Uhlich
    Though the story's wrapped-with-a-bow finale is never in doubt-ol' Meathead remains a populist, pandering Hollywood man through and through-Belle Isle still manages to cast enough of an enchanting spell.
    • 45 Metascore
    • 20 Keith Uhlich
    It would be kind to call this satire; what it comes off as is a pummeling, testosterone-fueled sensory assault that the film then makes minor variations on for two very long hours.
    • 45 Metascore
    • 20 Keith Uhlich
    This one barely musters a pulse.
    • 45 Metascore
    • 60 Keith Uhlich
    The casting, from lead roles to supporting, is uniformly terrific.
    • 45 Metascore
    • 40 Keith Uhlich
    Sadly, “Get out of my lab!” is not the new “Get off my plane!”