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 The Sun
Lowest review score: 20 47 Ronin
Score distribution:
  1. Negative: 44 out of 607
607 movie reviews
    • 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.
    • 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.
    • 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
    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).
    • 37 Metascore
    • 60 Keith Uhlich
    You can barely stifle a laugh, and the way Wright and Watts deliver rote, morally searching dialogue with deer-in-the-headlights stoicism (“We’ve crossed a line,” Lil blankly notes) doesn’t help matters.
    • 57 Metascore
    • 60 Keith Uhlich
    If anything distinguishes director Régis Roinsard’s take on well-trod material, it’s his Technicolor-bright widescreen palette (recalling many a late-’50s pillow-talk romance without a hint of snooty irony) and energetically game cast.
    • 68 Metascore
    • 60 Keith Uhlich
    Photographed with an alluring sheen that complements the coldly commercial wheelings and dealings of its subjects, Red Obsession fascinatingly reveals how Old World vintner artistry is being shaken up by New World supply and demand.
    • 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.
    • 75 Metascore
    • 60 Keith Uhlich
    You still leave impressed at the way Stanton fiercely protects the aura of mystery that makes him such an indelible onscreen presence.
    • 74 Metascore
    • 60 Keith Uhlich
    The uniformly showy performances (Acting with a capital ‘A’) are what do in Prisoners more than anything.
    • 75 Metascore
    • 60 Keith Uhlich
    This is not a choice made lightly by anyone involved, but the admirable, multilayered toughness of these sequences is unfortunately weakened by the filmmakers’ saccharine touch whenever they explore the doctors’ personal lives.
    • 69 Metascore
    • 60 Keith Uhlich
    There’s still enough of merit here (particularly a movingly low-key finale that strikes just the right note of reconciliation and regret) to suggest that Porterfield has the chops to eventually hone his talents to a fine point.
    • 64 Metascore
    • 60 Keith Uhlich
    The scenes of the film’s exuberant, frizzy-haired protagonist wandering Naples and revisiting old haunts, however, seem much more unfocused—a ramshackle search for insights into the man’s art and life that rarely come. The instruments are in tune, but the rhythm is off.