For 631 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 5.4 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Closed Curtain
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 52 out of 631
631 movie reviews
    • 81 Metascore
    • 60 Keith Uhlich
    Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.
    • tbd Metascore
    • 60 Keith Uhlich
    By the end, you'll feel like you've seen it all before. But for a good while, Retake...seems like it's carving out some distinctive new territory in the well-trod world of queer cinema.
    • 46 Metascore
    • 60 Keith Uhlich
    Once the undead start walking, however, the film loses some of its footing: Most of the bloodletting is staged with quick-cut inelegance better suited to the hack horror production of your choosing, though there’s still a potent air of hopelessness that lingers as the cast is winnowed away "Ten Little Indians"–style.
    • 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.
    • 42 Metascore
    • 60 Keith Uhlich
    There are a few too many twists on this highway.
    • 83 Metascore
    • 60 Keith Uhlich
    You still can't help admiring the project's ambition; an odd combo of "Babe: Pig in the City" and Godard's "Histoire(s) du cinéma," Hugo is the strangest bird to grace the multiplex in a while.
    • 49 Metascore
    • 60 Keith Uhlich
    Her (Angela Ismailos) heart's in the right place, but her subjects' ruminations demand a much larger canvas.
    • 44 Metascore
    • 60 Keith Uhlich
    It’s unfortunate that Stelling and his cast aren’t able to lift the story much above mawkishness.
    • 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.
    • 73 Metascore
    • 60 Keith Uhlich
    For all its surface effectiveness, however, The Blue Room never quite makes that intangible leap into greatness. It’s a phenomenally executed exercise that, like its protagonist’s memory, is too wispy for its own good.
    • 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.
    • 68 Metascore
    • 60 Keith Uhlich
    The falsely euphoric close is a big misstep - Pulitzers, it would seem, are the ultimate Band-Aid. What was that old adage about printing the legend?
    • 46 Metascore
    • 60 Keith Uhlich
    Though the story's wrapped-with-a-bow finale is never in doubt-ol' Meathead remains a populist, pandering Hollywood man through and through-Belle Isle still manages to cast enough of an enchanting spell.
    • 63 Metascore
    • 60 Keith Uhlich
    For all the undeniable imaginativeness and visual dazzle (this is Maddin's first entirely digital feature, and it positively glistens), Keyhole ultimately comes off like a feature-length private joke that revels a bit too gleefully in its overall inscrutability. Close, Guy. But no Double Yahtzee.
    • 83 Metascore
    • 60 Keith Uhlich
    It’s unfortunate that the result is so unaffecting, especially in light of all the things the director does right.
    • 39 Metascore
    • 60 Keith Uhlich
    It helps that Fame has been cast with performers who have the glow of possibility about them.
    • 56 Metascore
    • 60 Keith Uhlich
    Would that the climax lived up to the tension-filled first two thirds. Let’s just say that Non-Stop reaches for some pointed post-9/11 political commentary that almost entirely exceeds its grasp. Total brainlessness, in this case, would have been a virtue.
    • 61 Metascore
    • 60 Keith Uhlich
    That the filmmaker at least makes a concerted effort to tweak what in most hands would be an offensively whitewashed dark-continent parable is worth some measure of praise.
    • 60 Metascore
    • 60 Keith Uhlich
    This is the kind of movie in which it's considered the zenith of meta-wit to have a slumming Robert De Niro (as Machete's racist politico nemesis) drive a taxi.
    • 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.
    • 81 Metascore
    • 60 Keith Uhlich
    The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
    • 23 Metascore
    • 60 Keith Uhlich
    The film's sure-to-be-brief theatrical release is a mere stopover on the way to basic-cable eternity.
    • 55 Metascore
    • 60 Keith Uhlich
    Apart from the devastating material itself, some of Lapa’s aesthetic choices are extremely off-putting.
    • 72 Metascore
    • 60 Keith Uhlich
    Diplomacy’s origins as a play (written by Cyril Gely and starring the same actors) are always evident. Despite Schlöndorff’s attempts to give the movie some pop through widescreen lensing and noirish lighting, it’s a visually staid affair—very “filmed theater.” Fortunately, both Arestrup and Dussolier are captivating presences.
    • 50 Metascore
    • 60 Keith Uhlich
    Antal and his performers’ pure B-movie esprit is undeniable.
    • 69 Metascore
    • 60 Keith Uhlich
    Tony Scott almost wins us over with this fun thrill ride.
    • 54 Metascore
    • 60 Keith Uhlich
    Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
    • 37 Metascore
    • 60 Keith Uhlich
    Anderson makes often-inspiring use of the 3-D effects.
    • 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.
    • 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.

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