For 619 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 Almayer's Folly
Lowest review score: 20 47 Ronin
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 49 Metascore
    • 40 Keith Uhlich
    Let’s not dance around it: Nine--is a dud.
    • 71 Metascore
    • 40 Keith Uhlich
    The true soulfulness of Sendak’s parable never emerges.
    • 47 Metascore
    • 40 Keith Uhlich
    The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
    • 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.
    • 81 Metascore
    • 40 Keith Uhlich
    Writer-director Jane Campion approaches the tale with an artiste’s respectful solemnity, but it too often comes off like "Twilight" transplanted across oceans and centuries.
    • 37 Metascore
    • 40 Keith Uhlich
    There’s nothing more boring than a life embalmed with halfhearted Hollywood bombast, which only makes the film’s fleeting pleasures stand out all the more.
    • 57 Metascore
    • 40 Keith Uhlich
    There’s little that can be done with material wrung of its complications to accommodate an ultimately life-affirming, it-all-works-out agenda.
    • 53 Metascore
    • 40 Keith Uhlich
    Props should be given to Rodriguez’s breathless “let’s put on a show” inventiveness. Plus, Macy and the booger--kick ass!
    • 55 Metascore
    • 40 Keith Uhlich
    Lee and Schamus make history blandly palatable; in the process, they rob the times and the people they’re portraying of their complications.
    • 55 Metascore
    • 40 Keith Uhlich
    There’s a marked sense of retreat in this tale that’s never explored--everyone goes out of the way to remember the past through rose-colored specs.
    • 72 Metascore
    • 40 Keith Uhlich
    A slipshod documentary about a fascinating subject: the loaded history and current complications of African-American hairstyling.
    • 62 Metascore
    • 40 Keith Uhlich
    The film slowly loses the sobering toughness of its initial inquiry, and finally comes off as bloodline-biased hagiography.
    • 48 Metascore
    • 40 Keith Uhlich
    Credit Broderick and the cast for putting across the fey Indiewood bullcrap with committed, nearly convincing effort.
    • 53 Metascore
    • 40 Keith Uhlich
    Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.
    • 79 Metascore
    • 40 Keith Uhlich
    Bong is so concerned with whodunit that his creaky genre mechanics diminish Kim's determined performance.
    • 32 Metascore
    • 40 Keith Uhlich
    A tedious example of speculative fiction.
    • 27 Metascore
    • 40 Keith Uhlich
    One wrongheaded jaw-dropper follows another.
    • 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.
    • 53 Metascore
    • 40 Keith Uhlich
    Winterbottom’s inability to bring off this lurid stew of sex and violence is one problem; his (mis)direction of Affleck is another.
    • 50 Metascore
    • 40 Keith Uhlich
    A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)
    • tbd Metascore
    • 40 Keith Uhlich
    Sontag’s true talent was for the printed word; behind the camera, her limitations come more harshly to light. Upon Promised Land’s release, she recounted her experiences in Vogue--an all-too-appropriate forum since her film is mostly chic posturing.
    • 62 Metascore
    • 40 Keith Uhlich
    It’s a shame that Toe to Toe adheres so stridently to Indiewood clichés.
    • 33 Metascore
    • 40 Keith Uhlich
    Maybe Douglas Sirk could have made something profound out of the pseudo-ennobling horsepucky. As is, The Last Song is what the crinkle-nosed Southern belle in all of us would resoundingly deem “Trash! Trash! Trash!”
    • 58 Metascore
    • 40 Keith Uhlich
    A dumb comedy out to prove its genre-defying smarts--the title is both an onscreen-supported reference to Walt Whitman and a wacky-tobaccy allusion--Leaves of Grass is a mostly mirthless affair; not even the sight of Edward Norton portraying twins tickles as it should.
    • 58 Metascore
    • 40 Keith Uhlich
    This is like a subpar "Naked Gun" feature cooked up by Eisenstein and Godard during a drug-addled lost weekend. Where's Leslie Nielsen when you need him?
    • 45 Metascore
    • 40 Keith Uhlich
    The thought behind this body-splattering nostalgia trip is unformed and stagnant.
    • 20 Metascore
    • 40 Keith Uhlich
    Only "Slumdog Millionaire's" Dev Patel, as the bastard prince of the villainous Fire nation, truly gets jiggy with the fantasy. Everyone else stares off into green-screen space and waits for lunch to be called.
    • 41 Metascore
    • 40 Keith Uhlich
    Kilcher makes the slog worthwhile--her face gleams with possibility, even in the character’s darkest moments--though one prays she escapes the typecasting trap ASAP.
    • 59 Metascore
    • 40 Keith Uhlich
    The film blows up a minor aspect of the New Wave to foolishly apocalyptic proportions, substituting gossip for gospel.
    • 66 Metascore
    • 40 Keith Uhlich
    It’s a neurotic treatise that simply adds to our cultural dementia instead of illuminating it.

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