For 607 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
  • TV
Average review score: 57
Highest review score: 100 Boxing Gym
Lowest review score: 20 Uncertainty
Score distribution:
  1. Negative: 44 out of 607
607 movie reviews
    • 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
    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.
    • 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.