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 Almayer's Folly
Lowest review score: 20 Lucy
Score distribution:
  1. Negative: 47 out of 618
618 movie reviews
    • 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.
    • 65 Metascore
    • 20 Keith Uhlich
    I'll respect the studio's wishes to abbreviate all plot description. God knows, they're marketing it like the second coming of "The Crying Game," though the revelations that await Nev are only shocking if you believe P.T. Barnum was really in possession of a genuine Fiji mermaid.
    • 65 Metascore
    • 60 Keith Uhlich
    For a while it’s a low-key fish-out-of-water comedy (with McDonald’s as one of its many obvious punch lines), then it morphs into a cumbrously sentimental tale of redemption.
    • 65 Metascore
    • 80 Keith Uhlich
    Exploitative as this may seem in theory, it works beautifully onscreen, mostly because of Binoche’s radiantly complicated humanity.
    • 65 Metascore
    • 60 Keith Uhlich
    The overall effect is not unlike watching a chef de cuisine experimenting in his off-hours; not everything takes, but you still come away with a pleasingly stimulated palate.
    • 65 Metascore
    • 60 Keith Uhlich
    Less deadpan spoof than loving act of possession, Black Dynamite near-fully channels the look and feel of its blaxploitation ancestors, warts and all.
    • 65 Metascore
    • 60 Keith Uhlich
    Fortunately, Roth himself proves to be a fascinating presence — soft-spoken, sharp and bearing a vague air of melancholy that offsets the surrounding adulation.
    • 65 Metascore
    • 40 Keith Uhlich
    Charlie Victor Romeo would probably work best as a training tool for commercial airline pilots (the play, interestingly, has already been used in this fashion by the Pentagon). In a movie theater for a paying crowd, it’s little more than minimalist snuff.
    • 65 Metascore
    • 40 Keith Uhlich
    Despite the chronological juggling, the film's stylistic debts (a Hitchcock flashback borrowed from Stage Fright, a Bertolucci-esque apartment sequence that could be titled Last Tango in Auschwitz) are simplistic to a fault; they lack the multifaceted suspense and sensuality typified by those directors at their best.
    • 65 Metascore
    • 100 Keith Uhlich
    It isn't until the story reaches its fancifully abstract final passages, where cinema displaces music as Douglas's weapon of choice, that Chase's reverie reveals itself as a particularly exceptional exploration of how art ceases being an idle hobby and becomes an obsessive vocation.
    • 65 Metascore
    • 80 Keith Uhlich
    The real drama in Parnassus comes from the troupe of sideshow performers, led by a terrifically morbid Christopher Plummer.
    • 65 Metascore
    • 40 Keith Uhlich
    Simon Curtis's watchably third-rate biopic doesn't try to sort out truth from fabrication; that would be like "teaching Urdu to a badger," as the short-tempered Olivier - played by a whole-hog-slicing Branagh - might say. Better to print the legend and be done with it.
    • 65 Metascore
    • 40 Keith Uhlich
    Jolie must eventually become a comic-book supergirl impervious to explosions and bullets, all the better to set up a "Bourne"-like franchise by the final fade-out.
    • 65 Metascore
    • 60 Keith Uhlich
    People who like their comedies pitch black (we're talking midnight, no stars or moon) should get a kick out of the tale of Steven Russell (Carrey).
    • 65 Metascore
    • 40 Keith Uhlich
    By the time Nick decides to have an emotionally purgative yard sale-the primary holdover from the short story-all the adult ambiguities have been traded in for facile Indiewood profundities.
    • 65 Metascore
    • 80 Keith Uhlich
    The movie might very well have come off as a too-clinical experiment if it weren't for Leo, who maintains a rivetingly mysterious aura even as her character's behavior becomes increasingly bizarre.
    • 65 Metascore
    • 40 Keith Uhlich
    It's just another franchise nonstarter to toss in the superstore superhero deal bin.
    • 65 Metascore
    • 100 Keith Uhlich
    Alain Resnais's mind-bending new feature.
    • 65 Metascore
    • 60 Keith Uhlich
    Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
    • 65 Metascore
    • 60 Keith Uhlich
    Though often funny, there’s a reverse narcissism in the way Karpovsky wallows in his “character’s” off-putting flaws.
    • 65 Metascore
    • 80 Keith Uhlich
    The first part of Deathly Hallows has plenty of invigorating imagery alongside the pro forma narrative elements.
    • 65 Metascore
    • 60 Keith Uhlich
    The intention outweighs the execution, though there are still pleasures to be had.
    • 65 Metascore
    • 20 Keith Uhlich
    You can practically taste the grime in Jorge Michel Grau's art-house horror show-the film looks like it's been slathered with gooey discards from a backyard barbecue.
    • 64 Metascore
    • 60 Keith Uhlich
    A believably unbalanced Bening scores the movie’s true coup: Karen’s revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance.
    • 64 Metascore
    • 80 Keith Uhlich
    Every monster-movie archetype is here, from nerdy scientists (Charlie Day and Burn Gorman) to hard-stare leaders (Idris Elba) with a penchant for 11th-hour inspirational speeches. (Watching the former Stringer Bell bellow about “canceling the apocalypse!” is one of those great, giddy pleasures you didn’t know you needed.)
    • 64 Metascore
    • 40 Keith Uhlich
    The curtain can't come down fast enough.
    • 64 Metascore
    • 40 Keith Uhlich
    At least Mark Ping Bing Lee’s luscious cinematography distracts from the shallow storytelling. There are worse things than luxuriating in a two-hour Côte d’Azur travel ad.
    • 64 Metascore
    • 60 Keith Uhlich
    The movie is never less than involving, but rarely amounts to more than a third-generation grindhouse knockoff.