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
    • 67 Metascore
    • 60 Keith Uhlich
    The film adheres closely to a well-reviewed theater production cocreated by and starring Andre Gregory and Wallace Shawn, both of whom get to riff on their prickly "My Dinner with Andre" rapport.
    • 66 Metascore
    • 60 Keith Uhlich
    Viewers familiar with Daniels’s idiosyncratically vulgar work might be disappointed that there’s little here that compares to Nicole Kidman loosing a yellow stream on Zac Efron’s jellyfish stings in "The Paperboy" (2012).
    • 68 Metascore
    • 60 Keith Uhlich
    The laughs are purely surface; the film's women's-lib pretensions seem grafted on as if to lend significance to a story that would benefit from a lighter, less cerebral touch. Still, it's hard to resist La Deneuve's charms.
    • 75 Metascore
    • 60 Keith Uhlich
    May’s biggest get, however, is Ciavarella himself—a man forever rationalizing his shady actions, who emerges as a more complexly tragic figure than you’d think possible.
    • 83 Metascore
    • 60 Keith Uhlich
    The good news is that the film's stylistic excesses don't negate the many fascinating aspects of Nim's story.
    • 71 Metascore
    • 60 Keith Uhlich
    Belvaux's tension-building setup is stellar; the follow-through, less so.
    • 64 Metascore
    • 60 Keith Uhlich
    The survey the film provides is bracing, and there are plenty of talking heads to guide us through the kaleidoscope of imagery. Unfortunately, there’s also a public-television vibe to the proceedings that mutes the overall power. It’s essential info presented with little imagination.
    • 50 Metascore
    • 60 Keith Uhlich
    Other than ludicrously pulpy fun, Anonymous, true to its title, ultimately signifies nothing.
    • 60 Metascore
    • 60 Keith Uhlich
    Once Pip reaches the big city, Newell starts losing the dramatic focus, piling on incidents and revelations with a bombastic force that makes it seem as if we’re watching a cheap 19th-century telenovela.
    • 88 Metascore
    • 60 Keith Uhlich
    Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp.
    • 54 Metascore
    • 60 Keith Uhlich
    Ticking-time-bomb suspense is not Nair’s forte, so she relies on Michael Andrews’s Middle East–inflected score to do most of the heavy lifting in the present-day scenes, which feel shapeless and perfunctory.
    • 29 Metascore
    • 60 Keith Uhlich
    13
    Aside from some character-defining flashbacks, a godawful score and sweat-enhancing color photography, it's the same movie as before - a divertingly tense yet superficial time-waster.
    • 58 Metascore
    • 60 Keith Uhlich
    Drooling fanboys and "Buffy"-loving academics are sure to go wild — not that there’s anything wrong with that…right? Stoker is a gorgeous wank job; just prepare to hate yourself for loving it.
    • 45 Metascore
    • 60 Keith Uhlich
    The casting, from lead roles to supporting, is uniformly terrific.
    • 56 Metascore
    • 60 Keith Uhlich
    The film never entirely overcomes the sense that it's a calling-card vehicle.
    • 58 Metascore
    • 60 Keith Uhlich
    Adams gets a delectable onscreen partner in Justin Timberlake as a novice scout who takes an interest in Mickey. Even the old half-naked-moonlight-swim gambit feels fresh with these two involved.
    • 73 Metascore
    • 60 Keith Uhlich
    This is a movie about a subculture, made for that subculture; only hard-core Xboxers need apply.
    • 84 Metascore
    • 60 Keith Uhlich
    The documentary's scope feels a bit small overall - more concerned with capturing the episodic adventures of these disparate subjects than with connecting their experiences to larger societal ills.
    • 64 Metascore
    • 60 Keith Uhlich
    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.
    • 69 Metascore
    • 60 Keith Uhlich
    Anna Wintour? Feh! There never was, and never will be, a style icon quite like Diana Vreeland.
    • 53 Metascore
    • 60 Keith Uhlich
    None of the hilarity is enough to keep Wanderlust from feeling like a late-night comedy-show sketch stretched to feature length. But why look a giggle-prone gift horse in the mouth?
    • 76 Metascore
    • 60 Keith Uhlich
    Mud
    Despite the best efforts of a cast that mixes unstudied newbies such as The Tree of Life’s Sheridan with Hollywood prima donnas like Reese Witherspoon (a starlet-slumming-it distraction as Mud's dim-bulb inamorata), there’s an overall clunkiness that Nichols is unable to overcome.
    • 66 Metascore
    • 60 Keith Uhlich
    Carice van Houten (Black Book) is superb as the emotionally unstable Jonker - all manically beaming highs and depressively gloomy lows, a tempestuous force of nature in a movie that too often plays it blandly polite.
    • 49 Metascore
    • 60 Keith Uhlich
    Even this terrifically talented performer can't sell a Shyama-lana-ding-dong of a third-act twist that will make more eyes than heads roll.
    • 68 Metascore
    • 60 Keith Uhlich
    There’s bleakness in the beauty: What begins as a personal coming-of-age story ends as a tragic tale of a community’s stunted adolescence.
    • 58 Metascore
    • 60 Keith Uhlich
    There's an all-embracing openness here that belies the often cold and calculating characters she plays onscreen. She's the perfect confluence of brains and beauty, and it's a pleasure to be in her company.
    • 62 Metascore
    • 60 Keith Uhlich
    Anyone who has ever loved a television show can see that Thomas and his crew are working overtime to give VM aficionados everything they want.
    • 68 Metascore
    • 60 Keith Uhlich
    The major change is that the domestic, Eun-yi (the great Jeon, star of "Secret Sunshine"), is now more of a victim than an aggressor.
    • 55 Metascore
    • 60 Keith Uhlich
    Ultimately, this feels like a hagiographic official portrait that takes the sting out of the proverbial bee.
    • 72 Metascore
    • 60 Keith Uhlich
    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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