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 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 Headless Woman
Lowest review score: 20 Jonah Hex
Score distribution:
  1. Negative: 47 out of 621
621 movie reviews
    • 46 Metascore
    • 40 Keith Uhlich
    The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."
    • 55 Metascore
    • 40 Keith Uhlich
    Shorn of its quintessentially American roots, a biting tale of adult extravagance becomes insubstantially tween-aged.
    • 57 Metascore
    • 40 Keith Uhlich
    The razzle-dazzle can't distract from the monotonously overstuffed spy-film plot.
    • 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.
    • 49 Metascore
    • 40 Keith Uhlich
    Gerwig is plenty charming, considering the rote stuff she has to work with. Yet this still feels like a real devolution - hopefully short-lived - after her distinctively eccentric turns in "Greenberg" and "Damsels in Distress."
    • 50 Metascore
    • 40 Keith Uhlich
    Favreau's direction is so boulder-heavy-the action sequences, especially the climactic assault on the alien mothership, are an eye-and-ear-shattering mess-that the small moments of poetry...are lost amid too much digital sound and fury.
    • 55 Metascore
    • 40 Keith Uhlich
    There’s little of the Church’s perspective in this doc, but you can’t really fault the filmmakers--Mormon leaders refused several overtures to participate. Read more: http://newyork.timeout.com/articles/film/86550/the-mormon-proposition-film-review#ixzz0r2j38wUF
    • 62 Metascore
    • 40 Keith Uhlich
    Madden pads the film with shimmering images of Jaipur and its surroundings; a midmovie funeral sequence - 'cause somebody's got to kick the bucket! - even manages to be somewhat evocative and moving. The rest makes you long for senility to set in, but quick.
    • 39 Metascore
    • 40 Keith Uhlich
    People become mere punch lines: fleshy avatars for the gory grist.
    • 28 Metascore
    • 40 Keith Uhlich
    It's "Centurion Deux" without the second-coming-of-Carpenter pretense, though you still wish the trashiness were more distinctive.
    • 55 Metascore
    • 40 Keith Uhlich
    There is no depth or resonance to anything we see and hear-everything is as it seems, no more, no less, and the reactionary superficiality dulls the senses. General Orders No. 9 strains for elegiac profundity and ends up as bad, backward-looking poetry.
    • 55 Metascore
    • 40 Keith Uhlich
    Yet worst of all is the way the film ultimately reveals its humanistic setup as a lazy pretext to redeem Damon's big-business apologist through the healing power of nature. He's not the only one who should be put out to pasture.
    • 59 Metascore
    • 40 Keith Uhlich
    As we work our way back to that cliff-hanger of an opening, it becomes clear that the movie is no acid critique, but a hollow endorsement of high living. Guess every generation gets its "Boiler Room."
    • 41 Metascore
    • 40 Keith Uhlich
    The story's treacly all-souls-in-alignment outcome is never in doubt, but as Kasdan dogs go, this is light-years better than Dreamcatcher.
    • 83 Metascore
    • 40 Keith Uhlich
    Reitman, who also cowrote the screenplay, feels the constant need to "deepen" his characters, granting them wants and motivations--especially during the moralistic third act--that are totally alien to how they're initially portrayed.
    • 79 Metascore
    • 40 Keith Uhlich
    Given the months-long hype, what’s most bewildering about Sundance sensation Precious is its overall shrug-worthiness.
    • 52 Metascore
    • 40 Keith Uhlich
    Good actors like Vera Farmiga and Brendan Gleeson show up to bust balls and bark expository dialogue with check-in-the-bank-yet? proficiency. Add in a couple of dully pro forma narrative twists to keep you awake in between shots of distractingly exotic South African scenery, and you've got a first-quarter Hollywood release par excellence. Meaning not.
    • 63 Metascore
    • 40 Keith Uhlich
    Rob Epstein and Jeffrey Friedman's mostly whiffed docudrama makes the influential poem by Allen Ginsberg (Franco) seem dull, ordinary, pedestrian instead of pioneering.
    • 51 Metascore
    • 40 Keith Uhlich
    Aside from a few inspired vistas and alien life-forms (the Road Runner–fast red planet dog Woola is sure to sell a bazillion action figures), John Carter is as deadly dull as its basso-voiced, beefcake slab of a star, Taylor Kitsch.
    • 53 Metascore
    • 40 Keith Uhlich
    Zack Snyder's films have some of the best opening-credits sequences in cinema; the unfortunate thing is that there's always a movie after them.
    • 49 Metascore
    • 40 Keith Uhlich
    The fully committed Rush, at least, commands our constant attention, and no movie with a kookier-than-usual Ennio Morricone score (dig those staccato-chanting chorines!) could ever be a total waste of canvas.
    • 62 Metascore
    • 40 Keith Uhlich
    This was Italy's official submission for Best Foreign Film to the 2011 Academy Awards (a red flag more often than not), and, sure enough there's little here that rises above middlebrow.
    • 42 Metascore
    • 40 Keith Uhlich
    The satire rarely stings, as first-time feature directors Declan Donnellan and Nick Ormerod give a polite Masterpiece Theatre gloss to this most impolite of tales.
    • 67 Metascore
    • 40 Keith Uhlich
    There's shockingly little thrill in watching Carano bounce off walls and pummel antagonists.
    • 32 Metascore
    • 40 Keith Uhlich
    A tedious example of speculative fiction.
    • 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?
    • 60 Metascore
    • 40 Keith Uhlich
    This highly fictionalized look at the Wild West early days of Internet porn is off-putting in almost every way, with sledgehammer stylistic flourishes (incessant shaky-cam; a Rolling Stones musical cue as ironic comment) and dialogue that sounds like it was written in a testosterone-fueled haze.
    • 61 Metascore
    • 40 Keith Uhlich
    Since this is a House of Mouse production, sentimental order must inevitably be grafted onto nature's pitiless chaos. The cornball voiceover ascribes human wants and desires to the animals.
    • 22 Metascore
    • 40 Keith Uhlich
    From the moment Joel Schumacher's dour teens-in-crisis melodrama establishes its group of spoiled (and so, so unloved) Manhattan silver-spooners, you long for anything to leaven the tsk-tsk prurience.
    • 68 Metascore
    • 40 Keith Uhlich
    Darren Aronofsky’s big-ticket retelling of the biblical legend of Noah (Russell Crowe, so damn serious) is a wildly stupid, yet still train-wreck-fascinating piece of work.

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