For 621 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 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Sun
Lowest review score: 20 Jonah Hex
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 61 Metascore
    • 60 Keith Uhlich
    The film's numerous idiosyncrasies - virtues at the outset - ultimately suffocate it.
    • 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.
    • 60 Metascore
    • 60 Keith Uhlich
    The more that fright-flick conventions take over, the more the movie's recognizable and resonant human fears are dulled.
    • 81 Metascore
    • 60 Keith Uhlich
    Yet it's impossible to shake the sense that what felt thrillingly, cohesively alive in the director's earlier movies plays here with more laurel-resting creakiness than go-for-broke verve. Russell's once-mercurial assets have become a formula.
    • 58 Metascore
    • 60 Keith Uhlich
    It's almost worth wading through the wearisome setup to get to the fun stuff. But there is a reason fast-forward buttons were invented.
    • 62 Metascore
    • 60 Keith Uhlich
    Fortunately, there are a good number of Yen-choreographed action scenes to break up the monotony.
    • 55 Metascore
    • 60 Keith Uhlich
    Hyde Park could have been fawningly ponderous; that it's merely an airy trifle puts it a cut above the usual Oscar bait.
    • 54 Metascore
    • 60 Keith Uhlich
    Though its insights are slight-the movie feels as delicate and ephemeral as its sleepy winter surroundings - you can't help but admire the overall generousness O'Brien shows to his characters and performers.
    • 57 Metascore
    • 60 Keith Uhlich
    Expertly conjured atmosphere only gets Muschietti so far, but there's enough genuine promise here that you're willing to cut this talented newcomer some slack.
    • 74 Metascore
    • 60 Keith Uhlich
    There's enough filmmaking talent evident throughout that you wish the journey were more satisfying overall.
    • 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.
    • 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.
    • 75 Metascore
    • 60 Keith Uhlich
    It’s a reasonably diverting piece of work, falling somewhere between the high of "Magic Mike" (2012) and the low of "Haywire" (2011), among his recent efforts.
    • 57 Metascore
    • 60 Keith Uhlich
    A too-pat ending also spoils Rubberneck (shorter: Mommy made me do it!), though it doesn’t ruin the steely pleasures of the filmmaking.
    • 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.
    • 58 Metascore
    • 60 Keith Uhlich
    Drooling fanboys and "Buffy"-loving academics are sure to go wild — not that there’s anything wrong with that…right? Stoker is a gorgeous wank job; just prepare to hate yourself for loving it.
    • 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.
    • 44 Metascore
    • 60 Keith Uhlich
    It’s an earnest hope, to be sure, and the greatest strength of Sam Raimi’s imaginative, if highly uneven, take on L. Frank Baum’s series of children’s stories about that magical land over the rainbow is its unabashed sincerity.
    • 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.
    • 57 Metascore
    • 60 Keith Uhlich
    What really matters is seeing these pretty people get put through the gory wringer, and once the unholy spirit comes calling, Evil Dead more than delivers.
    • 54 Metascore
    • 60 Keith Uhlich
    Ticking-time-bomb suspense is not Nair’s forte, so she relies on Michael Andrews’s Middle East–inflected score to do most of the heavy lifting in the present-day scenes, which feel shapeless and perfunctory.
    • 76 Metascore
    • 60 Keith Uhlich
    Mud
    Despite the best efforts of a cast that mixes unstudied newbies such as The Tree of Life’s Sheridan with Hollywood prima donnas like Reese Witherspoon (a starlet-slumming-it distraction as Mud's dim-bulb inamorata), there’s an overall clunkiness that Nichols is unable to overcome.
    • 72 Metascore
    • 60 Keith Uhlich
    Stick with the film, though, and you might find yourself strangely moved by its oddball mix of ripe melodrama, overwrought violence and regional verisimilitude.
    • 70 Metascore
    • 60 Keith Uhlich
    The Mouth’s dubious legacy and his many off-camera complications are examined with a coarse affection of which he himself would surely approve.
    • 78 Metascore
    • 60 Keith Uhlich
    The movie feels like too much of a lark. To paraphrase the play’s voice of reason, Friar Francis, it would be better if Whedon paused awhile and let his counsel sway us more.
    • 78 Metascore
    • 60 Keith Uhlich
    Loznitsa would have done better to embrace the story’s enigmas as opposed to explicate them.
    • tbd Metascore
    • 60 Keith Uhlich
    The longer the film goes on, the more it seems like a collection of gorgeous images without an overall organizing structure. Our youthful lead’s slow disillusionment with his complicated surroundings ultimately plays less profound than petulant.
    • 60 Metascore
    • 60 Keith Uhlich
    They (Bullock/McCarthy) deserve a much stronger showcase than this Laurel & Hardy Go Policin’ vehicle.
    • 62 Metascore
    • 60 Keith Uhlich
    Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.
    • 80 Metascore
    • 60 Keith Uhlich
    As subcultural anthropology, it’s unassailable. Yet the often ugly-looking DV aesthetic dilutes the cumulative effect.

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