For 623 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 3.5 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Blue Beard
Lowest review score: 20 Abraham Lincoln: Vampire Hunter
Score distribution:
  1. Negative: 48 out of 623
623 movie reviews
    • 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
    • 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.)
    • 50 Metascore
    • 40 Keith Uhlich
    Favreau's direction is so boulder-heavy-the action sequences, especially the climactic assault on the alien mothership, are an eye-and-ear-shattering mess-that the small moments of poetry...are lost amid too much digital sound and fury.
    • 49 Metascore
    • 60 Keith Uhlich
    No new ground is broken, and viewers will, not unpleasantly, get everything they expect. It’s apparently morning in America again.
    • 49 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.
    • 49 Metascore
    • 40 Keith Uhlich
    Brühl, meanwhile, is saddled with the unenviable task of being this hollow movie’s slow-dawning voice of reason: His climactic conversation with newspaper editor David Thewlis (never worse) is one of the most embarrassingly didactic Way We Live Now™ summations ever filmed.
    • 49 Metascore
    • 40 Keith Uhlich
    The fully committed Rush, at least, commands our constant attention, and no movie with a kookier-than-usual Ennio Morricone score (dig those staccato-chanting chorines!) could ever be a total waste of canvas.
    • 49 Metascore
    • 60 Keith Uhlich
    When it comes to scenes in which characters are asked to say more than two words, however, the filmmaker's a decided amateur; Moretz, in particular, seems hopelessly stranded as the attitudinal wild child.
    • 49 Metascore
    • 60 Keith Uhlich
    Her (Angela Ismailos) heart's in the right place, but her subjects' ruminations demand a much larger canvas.
    • 49 Metascore
    • 60 Keith Uhlich
    Watching this see-in-the-dark muscleman brooding against gorgeous otherworldly vistas, all while crafting pointy homemade weapons and befriending a scene-stealing CGI canine (no joke), is a sci-fi aficionado's delight.
    • 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.

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