For 608 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 Take Shelter
Lowest review score: 20 The Smurfs
Score distribution:
  1. Negative: 45 out of 608
608 movie reviews
    • 67 Metascore
    • 60 Keith Uhlich
    All of this is fascinating in the moment, yet the doc never yokes all these threads into anything particularly deep or illuminating. The Galapagos Affair is less social commentary, more gossip.
    • 67 Metascore
    • 40 Keith Uhlich
    It’s a hit-and-mostly-miss affair: For every gut-buster like McBride and Franco’s lengthy exchange about drenching each other in seminal fluid, there’s a fall-flat gag.
    • 67 Metascore
    • 60 Keith Uhlich
    The film's commitment to representing the harsh truths of an unfortunate historical moment is admirable, but it tends to grate rather than illuminate.
    • 67 Metascore
    • 40 Keith Uhlich
    There's shockingly little thrill in watching Carano bounce off walls and pummel antagonists.
    • 67 Metascore
    • 60 Keith Uhlich
    The four leads more often than not transcend the material's calculated moroseness; Ivanir is especially good as a man whose perfectionist facade masks a soul in perpetual turmoil.
    • 67 Metascore
    • 60 Keith Uhlich
    For an animation studio that too often specializes in the frivolous and glib (begone, Shrek series!), the move to the dark side is refreshing.
    • 67 Metascore
    • 60 Keith Uhlich
    The film adheres closely to a well-reviewed theater production cocreated by and starring Andre Gregory and Wallace Shawn, both of whom get to riff on their prickly "My Dinner with Andre" rapport.
    • 67 Metascore
    • 60 Keith Uhlich
    The jarring juxtapositions only heighten the enigmatic air of the film's subject; even when he's right in front of us, he seems to be plotting his next wily act.
    • 67 Metascore
    • 60 Keith Uhlich
    Visual Acoustics goes out of its way to remain as kindly and pleasing as Shulman himself.
    • 67 Metascore
    • 60 Keith Uhlich
    The Israel-Palestine conflict is reduced to a crystalline, though still complicated, essence in Nadav Schirman’s alternately tedious and engrossing documentary.
    • 67 Metascore
    • 60 Keith Uhlich
    Once the rote plot takes over - the tension brought on by the film's you-are-there verisimilitude quickly devolves into soapily overwrought theatrics.
    • 67 Metascore
    • 60 Keith Uhlich
    There's not much beyond all the fawning, but the effusively talented Channing more than deserves the gush.
    • 67 Metascore
    • 80 Keith Uhlich
    Too many movies come to us as preordained cult objects - this is the real deal.
    • 67 Metascore
    • 60 Keith Uhlich
    All the retroactively enlightened symbolism gets monotonous, and reaches an absurd apex with the introduction of a party-line newspaperman played by that scowling emblem of Teutonic depravity, Ulrich Tukur.
    • 66 Metascore
    • 60 Keith Uhlich
    Smash & Grab aims to replicate the mesmeric tension of a Michael Mann thriller (the crime-cinema impresario is even explicitly referenced by one of the cops assigned to hunt down the group), though the film is so all over the place stylistically that it often seems like several different movies cut together.
    • 66 Metascore
    • 60 Keith Uhlich
    The perfectly sculpted, entirely sure-of-himself Tom ultimately seems more of a construct than a character, his carefree nature shaped almost entirely by the very wish-fulfillment clichés that the movie otherwise sidesteps.
    • 66 Metascore
    • 60 Keith Uhlich
    Walken is particularly alive in a way he's rarely been since "Catch Me if You Can," adding untold shades to Hans's mystery-shrouded past - wait until you see what's under his cravat - while still giving his singularly eccentric line readings.
    • 66 Metascore
    • 80 Keith Uhlich
    Jordan’s poetic sensibilities more than make up for any flaws. His uncanny aptitude for conjuring up resonantly metaphorical images — from a pointed fingernail pushing toward a vein to a waterfall turning into a literal river of blood — proves there’s plenty of life left in this undead genre.
    • 66 Metascore
    • 80 Keith Uhlich
    In comparison with near-impenetrable Garrel efforts like "Regular Lovers" (2005) and "Frontier of the Dawn" (2008), Jealousy cuts straight to the heart.
    • 66 Metascore
    • 40 Keith Uhlich
    Director-cinematographer Steven Soderbergh’s indifference to the material is palpable and of a piece with his deathly dull output of late.
    • 66 Metascore
    • 80 Keith Uhlich
    Jendreyko elegantly sketches in the details of his subject's life and the historical events surrounding her coming-of-age-out of which emerges a fascinating subtext about the malleable powers of language.
    • 66 Metascore
    • 40 Keith Uhlich
    As with many a first feature, Gordon-Levitt’s so-so directorial debut is pumped up with ambition. The early scenes, heavy on caricature, promise to puncture much of the cocky illusions surrounding modern relationships.
    • 66 Metascore
    • 40 Keith Uhlich
    It’s a neurotic treatise that simply adds to our cultural dementia instead of illuminating it.
    • 66 Metascore
    • 60 Keith Uhlich
    The story's half-baked environmental themes become more prevalent as Letters from the Big Man progresses to its back-to-nature finale, which unfortunately distracts from Munch's consistently sure hand with his actors.
    • 66 Metascore
    • 80 Keith Uhlich
    By the time the beast spreads his wings to full span, soaring skyward toward a vaguely Spielbergian moon, you’re in the kind of breathless awe that so few current cinematic superproductions are able to provide.
    • 66 Metascore
    • 60 Keith Uhlich
    Viewers familiar with Daniels’s idiosyncratically vulgar work might be disappointed that there’s little here that compares to Nicole Kidman loosing a yellow stream on Zac Efron’s jellyfish stings in "The Paperboy" (2012).
    • 66 Metascore
    • 60 Keith Uhlich
    After the story takes a cloyingly sentimental turn, this lean-and-mean thriller becomes bathetically bloated. Just a few spokes short of a wheel, guys.
    • 66 Metascore
    • 60 Keith Uhlich
    If you’ve seen "Species," you know where this don’t-mess-with-Mother-Nature horror show is going, though director-cowriter Vincenzo Natali has a few interesting twists up his sleeve.
    • 66 Metascore
    • 60 Keith Uhlich
    Carice van Houten (Black Book) is superb as the emotionally unstable Jonker - all manically beaming highs and depressively gloomy lows, a tempestuous force of nature in a movie that too often plays it blandly polite.
    • 65 Metascore
    • 40 Keith Uhlich
    The film has the look of unflinching truth, yet it too often feels like a calculated ploy to stoke viewers' liberal-guilty consciences.