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

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 A Summer's Tale
Lowest review score: 20 Peep World
Score distribution:
  1. Negative: 47 out of 619
619 movie reviews
    • 37 Metascore
    • 40 Keith Uhlich
    Cue those weepy violins. Indeed, you get everything you'd expect from this mostly saccharine melodrama.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Keith Uhlich
    The thought behind this body-splattering nostalgia trip is unformed and stagnant.
    • 69 Metascore
    • 40 Keith Uhlich
    It's supremely annoying to see the ups and downs of romance reduced to archer-than-arch line readings and bloodless mortal kombat. What's more frustrating is that the film, adapted from Bryan Lee O'Malley's popular comic, is an endless visual delight.
    • 76 Metascore
    • 40 Keith Uhlich
    There's no sense of the oppression France felt under Nazi rule. It's all just play-acting in period-specific attire. You can almost hear the AD calling lunch.
    • 51 Metascore
    • 40 Keith Uhlich
    Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
    • 69 Metascore
    • 40 Keith Uhlich
    The stylistic conceit of keeping us entirely with the clones (so that we are as ill-informed as they are and never get to meet their powerful oppressors) only reveals what an empty-headed abstraction this tale was from both page and frame one
    • 74 Metascore
    • 40 Keith Uhlich
    There's more than a few things off in this tale of a disillusioned professional thief (Affleck, dull), his unlikely inamorata (Hall, wasted) and the determined FBI agent (Hamm, solid) out to apprehend him.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Keith Uhlich
    Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
    • 61 Metascore
    • 40 Keith Uhlich
    For those of us with a love of actorly indulgence, though, the film is a treasure trove, filled with enough molten-gold performances to gild a thousand Oscars.
    • 53 Metascore
    • 40 Keith Uhlich
    One's heart sinks the moment the trio is picked up by Prince Caspian (Barnes) and deposited on his ship, the Dawn Treader. Suddenly we're in green-screen land, where everything looks cheap, heavily digital and unfortunately postconverted to 3-D-hardly a fantastical otherworld.
    • 28 Metascore
    • 40 Keith Uhlich
    For an especially egregious bit of miscasting, look no further than Mena Suvari, star of this tony adaptation of Ernest Hemingway's posthumously published novel about a disintegrating marriage.
    • 56 Metascore
    • 40 Keith Uhlich
    Clearly there's a lot of myth-dispelling to do; indeed, the film often seems like a public-service announcement wrapped around a sketchy narrative skeleton.
    • 44 Metascore
    • 40 Keith Uhlich
    The Rock deserves better than this ho-hum revenge picture.
    • 81 Metascore
    • 40 Keith Uhlich
    What starts as an intriguing reverie ends as a hollow allegory.
    • 63 Metascore
    • 40 Keith Uhlich
    This routine animated feature is a perfectly fine thing to waste.
    • 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.
    • 39 Metascore
    • 40 Keith Uhlich
    Injecting a devil-may-care attitude into a franchise-focused blockbuster only gets you so far. When all is said and done, this wasp's got no sting.
    • 45 Metascore
    • 40 Keith Uhlich
    An hour and half of comparable barbarity follows-all of it monotonous, none of it enlightening.
    • 49 Metascore
    • 40 Keith Uhlich
    It's a pleasure to watch the granite-faced action star do his own stunts, particularly a death-defying leap from a bridge. Yet everything feels hurried.
    • 65 Metascore
    • 40 Keith Uhlich
    The film has the look of unflinching truth, yet it too often feels like a calculated ploy to stoke viewers' liberal-guilty consciences.
    • 42 Metascore
    • 40 Keith Uhlich
    This 3-D cave-diving adventure plays on a lot of fears, so avoid it if you have an aversion to claustrophobia, drowning or really bad acting.
    • 75 Metascore
    • 40 Keith Uhlich
    Several quick-witted touches-such as a hilarious nod to Depp's role in "Fear and Loathing in Las Vegas"-can't make up for Gore Verbinski's leaden direction of this digitally animated feature.
    • 29 Metascore
    • 40 Keith Uhlich
    The highlight, though, is Julie Christie as Grandma, whose GILFy gorgeousness (especially in the "better to eat you with" scene) is the only thing in this overblown campfest with real teeth.
    • 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."
    • 57 Metascore
    • 40 Keith Uhlich
    The title character himself is also an unimpressive digital creation-Rogen might as well be performing his stoner-from-another-world shtick during a wee-hours movieoke session.
    • 80 Metascore
    • 40 Keith Uhlich
    The director races far too quickly to get to his ashes-to-ashes, dust-to-dust punch line. This is the film of a pretender, not a believer.

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