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
    • 62 Metascore
    • 60 Keith Uhlich
    Imagine "His Girl Friday" crossed with "Armageddon" and you’ll get a sense of the unfortunate disconnect that prevents an enjoyable light entertainment from achieving rom-com nirvana.
    • 72 Metascore
    • 60 Keith Uhlich
    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.
    • 54 Metascore
    • 60 Keith Uhlich
    The movie’s admirable fleetness, however, doesn’t mitigate some of its narrative errors — Alexander’s opening voiceover suggests his family is totally oblivious to his role in their misery, which is disproved by a later scene — nor does it counteract an overall sense of slightness that prevents this from being a family-film classic.
    • 37 Metascore
    • 60 Keith Uhlich
    The early scenes of Gabe Ibáñez’s impressively mounted but uneven thriller do some terrific dystopian world-building.
    • 65 Metascore
    • 60 Keith Uhlich
    The overall effect is not unlike watching a chef de cuisine experimenting in his off-hours; not everything takes, but you still come away with a pleasingly stimulated palate.
    • 72 Metascore
    • 60 Keith Uhlich
    Stick with the film, though, and you might find yourself strangely moved by its oddball mix of ripe melodrama, overwrought violence and regional verisimilitude.
    • 25 Metascore
    • 60 Keith Uhlich
    There are plenty of formulaic boo! moments, yet Craven intelligently treats Bug's otherworldly issues like hormonal growing pains that must be tamed.
    • 31 Metascore
    • 60 Keith Uhlich
    The belly laughs do come, many of them courtesy of the mechanical bird companion.
    • 74 Metascore
    • 60 Keith Uhlich
    The uniformly showy performances (Acting with a capital ‘A’) are what do in Prisoners more than anything.
    • 81 Metascore
    • 60 Keith Uhlich
    About as deep as a kiddie pool, which isn't to say it's an unpleasant frolic.
    • 76 Metascore
    • 60 Keith Uhlich
    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.
    • 69 Metascore
    • 60 Keith Uhlich
    Fortunately Coppola’s sensitivity is always evident, especially in the open-hearted performances she gets from Roberts and Kilmer (whose father, Val, has a funny, pot-addled cameo).
    • 47 Metascore
    • 60 Keith Uhlich
    The divas rule in this glossy musical.
    • 72 Metascore
    • 60 Keith Uhlich
    It's fascinating to be so close to a then-sitting head of state as he negotiates for his homeland's survival, and the news that Nasheed was recently deposed in a coup by Gayoom loyalists makes the hard-won victories he did secure all the more poignant.
    • 75 Metascore
    • 60 Keith Uhlich
    This is not a choice made lightly by anyone involved, but the admirable, multilayered toughness of these sequences is unfortunately weakened by the filmmakers’ saccharine touch whenever they explore the doctors’ personal lives.
    • 76 Metascore
    • 60 Keith Uhlich
    Miners' is tiresome and scattershot.
    • 73 Metascore
    • 60 Keith Uhlich
    The subjects - a husband and wife struggling to make ends meet, mostly for the well-being of their infant daughter - are eminently engaging.
    • 70 Metascore
    • 60 Keith Uhlich
    Inventive yet exhausting tale of two circus clowns.
    • 65 Metascore
    • 60 Keith Uhlich
    Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
    • 64 Metascore
    • 60 Keith Uhlich
    Somewhat underwhelming sequel.
    • 39 Metascore
    • 60 Keith Uhlich
    They have little feel for the technical side of filmmaking; the imagery is flat and the editing amateurish. Most shots seem held for a beat too long or too short, wreaking havoc with the comic rhythm. Nonetheless, McCarthy and Falcone’s attempts to make Tammy more flesh-and-blood than a figure of fun are often poignant.
    • 57 Metascore
    • 60 Keith Uhlich
    Expertly conjured atmosphere only gets Muschietti so far, but there's enough genuine promise here that you're willing to cut this talented newcomer some slack.
    • 55 Metascore
    • 60 Keith Uhlich
    Unlike Romero’s film, what’s missing is a trenchant sense of connection to our historical moment.
    • 45 Metascore
    • 60 Keith Uhlich
    Marvin Kren’s enjoyable if ephemeral horror movie gets by for a while on its dopey premise.
    • 55 Metascore
    • 60 Keith Uhlich
    Like so many Doors chroniclers, DiCillo can’t help but fall under the singer’s spell; it’s understandable, but frustrating.
    • 69 Metascore
    • 60 Keith Uhlich
    Cage is not quite Aguirre or Fitzcarraldo in the Big Easy. But his performance hits all the right mythopoetic beats, rising above the thin script and late-night-cable aesthetic.
    • 54 Metascore
    • 60 Keith Uhlich
    Still, if any modern strip is worthy of an extended, Hobbes-style tongue bath, it’s this one.
    • 66 Metascore
    • 60 Keith Uhlich
    There’s no real pleasure in any of the musical performances. And when married to the scenes exploring Hendrix’s tumultuous personal life—particularly his semi-abusive relationship with long-term girlfriend Kathy Etchingham (Hayley Atwell)—you’re left with a monotonously grim portrait that’s more rewarding in theory than execution.
    • 69 Metascore
    • 60 Keith Uhlich
    The doc’s breakout star is Vogue creative director Grace Coddington, a former model whose plain appearance (the end result of a horrible car accident) and frumpy clothing belie her genius for fashion. She counters her boss every chance she can get and provides the film with a much-needed emotional center.
    • 62 Metascore
    • 60 Keith Uhlich
    Carell and Wiig make a splendid vocal pair — Nick and Nora Charles with ice guns and lipstick Tasers.

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