Keith Uhlich, Time Out New York
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For 468 reviews, this critic has graded:
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33% higher than the average critic
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2% same as the average critic
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65% lower than the average critic
On average, this critic grades 3.4 points lower than other critics.
(0-100 point scale)
Keith Uhlich's Scores
- Movies
| Average review score: | 56 |
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| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
20
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Score distribution:
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Positive: 109 out of 468
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Mixed: 324 out of 468
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Negative: 35 out of 468
468
movie reviews
- By critic score
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Keith Uhlich 60
Terrific performances and superb cinematography (by Claire Denis’s right hand, Agnès Godard) lift cowriter-director Ursula Meier’s feature debut above its thuddingly metaphorical premise. -
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Keith Uhlich 60
It’s a kick to see Cera cut loose from his patented befuddled-nerd routine, even if the film’s caricatured performances and fish-in-a-barrel scorn are sure to be monotonous for some. -
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Keith Uhlich 60
All the retroactively enlightened symbolism gets monotonous, and reaches an absurd apex with the introduction of a party-line newspaperman played by that scowling emblem of Teutonic depravity, Ulrich Tukur. -
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Keith Uhlich 60
John Travolta breaks the braggadocio meter in the latest tightly wound actioner from "Taken’s" Pierre Morel. -
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Keith Uhlich 60
Unlike Romero’s film, what’s missing is a trenchant sense of connection to our historical moment. -
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Keith Uhlich 60
The film lurches through narrative incidents: Battle scenes, political intrigue and a ticking-time-bomb love triangle are all pitched at the level of mundane competence and rarely get the blood racing. -
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Keith Uhlich 60
Like so many Doors chroniclers, DiCillo can’t help but fall under the singer’s spell; it’s understandable, but frustrating. -
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Keith Uhlich 60
About as deep as a kiddie pool, which isn't to say it's an unpleasant frolic. -
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Keith Uhlich 60
One senses this is a production better suited to the stage. -
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Keith Uhlich 60
A believably unbalanced Bening scores the movie’s true coup: Karen’s revitalizing relationship with a sweetly persistent coworker (Jimmy Smits) is a rare example of Hollywood doing right by midlife romance. -
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Keith Uhlich 60
When The Father of My Children shifts focus to Grégoire’s wife (Caselli) and children (the eldest is beautifully played by De Lencquesaing’s actual daughter, Alice), Hansen-Løve’s hand steadies, and she reveals a true talent for intimate, behavioral observation. -
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Keith Uhlich 60
The filmmakers do a good job of laying out the whos, whys and wheres through diagrams, reenactments and testimonials from veterans on both sides of the skirmish. -
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Keith Uhlich 60
The aural and visual overload that marks most of the director's work is here in spades--few documentaries look and sound so distinctive. -
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Keith Uhlich 60
The setup is pure Looney Tunes, and indeed, Despicable Me is at its best when trading in the anything-for-a-laugh prankery that was a specialty of the Termite Terrace crowd. -
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Keith Uhlich 60
Her (Angela Ismailos) heart's in the right place, but her subjects' ruminations demand a much larger canvas. -
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Keith Uhlich 60
Never quite shakes its sitcom-ish setup. The director alternates incident-laden storytelling with penetrating character moments that her terrific cast acts to the fullest. -
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Keith Uhlich 60
The sights and sounds are splendid--a lovingly hand-detailed portside city, a touching musical interlude in a windswept field--though they're largely disconnected from the narrative proper. -
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Keith Uhlich 60
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. -
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Keith Uhlich 60
Gould is as much of a mystery at the end as at the beginning. You get the feeling that's the way he'd have wanted it. -
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Keith Uhlich 60
The intention outweighs the execution, though there are still pleasures to be had. -
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Keith Uhlich 60
The film never entirely overcomes the sense that it's a calling-card vehicle. -
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Keith Uhlich 60
Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp. -
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Keith Uhlich 60
Strikingly picturesque locations and a terrific ensemble cast help this tonally inconsistent adaptation of Posy Simmonds's comic series pass by with relative ease, though it leaves a very peculiar aftertaste.- Posted Oct 20, 2010
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Keith Uhlich 60
There are plenty of formulaic boo! moments, yet Craven intelligently treats Bug's otherworldly issues like hormonal growing pains that must be tamed. -
