For 43 reviews, this critic has graded:
  • 32% higher than the average critic
  • 4% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 11.2 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

Average review score: 54
Highest review score: 90 Wolf Hall: Season 1
Lowest review score: 30 Cleveland Abduction: Season 1
Score distribution:
  1. Positive: 15 out of 43
  2. Negative: 7 out of 43
43 tv reviews
    • 86 Metascore
    • 90 Keith Uhlich
    It will be interesting to see how Rylance’s superb performance evolves as Cromwell gets within spitting distance of the throne. For the moment, he’s a perfect model of stoicism, and the few flickers of feeling that cross his face (a smattering of tears after the death of his wife and children) hint that when Cromwell’s downfall comes--as history says it must--it won’t be pretty. The supporting actors are equally excellent.
    • 77 Metascore
    • 80 Keith Uhlich
    The first episode, entitled “Sandy Passage,” certainly sets a high bar--a pitch-perfect, brilliantly performed send-up of Albert and David Maysles’ seminal Grey Gardens (1975).... The other two episodes made available for preview aren’t quite up to the level of “Sandy Passage,” but they’re still far from duds.
    • 65 Metascore
    • 80 Keith Uhlich
    Dwayne "The Rock" Johnson’s is magnetic as Spencer Strasmore.... That’s not to take anything away from the supporting players; if Johnson is the quarterback, they’re the necessary fullbacks, tackles and tight ends that make the team whole.
    • 79 Metascore
    • 80 Keith Uhlich
    The series is ridiculous in description and enthralling in execution because of Malek’s natural charisma and his way with creator and head writer Sam Esmail’s frequent jeremiads against the powerful and moneyed.
    • 68 Metascore
    • 80 Keith Uhlich
    Kargman’s intimate knowledge of this elite universe always feels grounded in first-hand experience, and the laughs are frequent and genuine.
    • 72 Metascore
    • 80 Keith Uhlich
    The sheer blissful goofiness of [Poldark and Demelza's] burgeoning romance (with swelling music, furtive glances, and Harlequin romance novel compositions) encapsulates the pleasures of the series as a whole. This is trash done ecstatically well.
    • 63 Metascore
    • 80 Keith Uhlich
    The siblings have frequently struggled to fully realize their ideas, too often failing to find the exact right balance between the silly and the sublime. (Multi-culti dance party in Matrix Reloaded, I’m looking at you.) With Sense8, they finally achieve that harmony.
    • 66 Metascore
    • 80 Keith Uhlich
    Thus far, Feig and his collaborators have found the right balance of humor and gravity for this celestial comedy.
    • 74 Metascore
    • 80 Keith Uhlich
    Wain and Showalter mostly acquit themselves, and for every dud plotline (“Coop’s” romantic flailings are actually more of a drag this time out) there’s a correspondingly uproarious one.
    • 69 Metascore
    • 70 Keith Uhlich
    [Ed Burns is] not trying to reinvent the wheel, just trying to tell a good, gripping yarn in ten episodes. Based on the first four installments (all of which he helmed and authored), Burns has done pretty well.
    • 59 Metascore
    • 70 Keith Uhlich
    All of this could play like an insufferable new-age soap opera, and, when the focus is off of Beals, occasionally does. But from the first scenes, it’s clear Proof is trying to tweak convention wherever and whenever possible.
    • 69 Metascore
    • 70 Keith Uhlich
    Like its affable leading man, the series is an overall genial affair.
    • 78 Metascore
    • 70 Keith Uhlich
    It’s an unbecoming undercurrent [the film frequently sentimentalizes cancer patients' experiences] in an otherwise absorbing nonfiction narrative, and it leaves a bitter aftertaste.
    • 73 Metascore
    • 70 Keith Uhlich
    It seems like a missed opportunity to dig deeper into Knight’s aesthetic and emotional turmoil. Despite the doc’s overall sketchy nature, however, this remains an enjoyably affectionate tribute.
    • 54 Metascore
    • 70 Keith Uhlich
    Pilot episode aside, Ames doesn’t skimp on the inventively outlandish absurdity. But it’s the simmering, slowly bared pathos--the sense that these clownish people are constantly trying and failing to suppress something all-too-human about themselves--that distinguishes it from the cringe-comedy crop.
    • 73 Metascore
    • 60 Keith Uhlich
    As Henry’s world expands, and as it becomes clear that his myopic perspective doesn’t exclusively define the intertwining narrative, it’s easy to get drawn in. Davies is best at capturing the easy camaraderie that develops among friends and lovers.... He’s on less sure footing with some of the more drastic shifts in tone in each series.
    • 72 Metascore
    • 60 Keith Uhlich
    Davies is best at capturing the easy camaraderie that develops among friends and lovers.... He’s on less sure footing with some of the more drastic shifts in tone in each series.
    • 74 Metascore
    • 60 Keith Uhlich
    Whenever Gibney does try to shake things up the results are embarrassing.... The facts of Sinatra’s life are still compelling enough that the movie is rarely dull.
    • 64 Metascore
    • 60 Keith Uhlich
    Carmichael and his writers find a way to balance the laughs--like a very funny moment when Cynthia races off to put on her “civil rights clothes”--with the unavoidable rawness stirred up by the situation [of Trayvon Martin and Michael Brown]. Even though it’s not a perfect mix, you can see the series The Carmichael Show is striving to be here.
    • 57 Metascore
    • 50 Keith Uhlich
    At least in the pilot, this Scream seems set on calling back to its ’90s source and then ever-so-slightly tweaking expectation. Yet it never plays as anything more than copycat cleverness.
    • 73 Metascore
    • 50 Keith Uhlich
    [Arthur & Georg] is a dutiful adaptation of the novel, compelling in parts, though never satisfying as a whole.
    • 37 Metascore
    • 50 Keith Uhlich
    Good as the actors are, though, the show’s run-of-the-mill plotting doesn’t do it--or its long-term prospects--any favors.
    • 76 Metascore
    • 50 Keith Uhlich
    The longer we stay in Julie and Billy’s company, the more the initial thrill of their uncensored approach to life dissipates.
    • 61 Metascore
    • 50 Keith Uhlich
    There’s so much prospect for challenge and stimulation here, yet Vargas never digs deep, jumping away from these varying tales right when they’re getting interesting (and just in time for commercial break).
    • tbd Metascore
    • 50 Keith Uhlich
    Olympus is high-camp soap opera performed in a virtual void--which doesn’t make it good, exactly, but at least results in some wonderfully, terribly compelling amateur theater.... Hard to say if this series would please the gods, but it certainly caters to trash-loving mortals.
    • 41 Metascore
    • 40 Keith Uhlich
    Nothing in the episodes sent out for review suggests that Mr. Robinson will be much more than your typical summer burn-off series--quickly aired, quickly forgotten.
    • 58 Metascore
    • 40 Keith Uhlich
    Dark Matter is a dud, and likely to make as much of a dent in the pop-cultural consciousness as the invisible substance it’s named after.
    • 65 Metascore
    • 40 Keith Uhlich
    Despite the occasional laughs, though, this is still a one-note premise stretched excruciatingly thin.
    • 42 Metascore
    • 40 Keith Uhlich
    There’s little here that inspires much beyond irritated indifference.
    • 55 Metascore
    • 40 Keith Uhlich
    The teleplay by Stephen Kronish adheres to the standard biopic highlight-reel template, moving in a mostly straight line from early days to final moments, aside from a hackneyed framing device in which Marilyn spills her guts to a handsome, sympathetic psychiatrist.... Most of Marilyn’s film career is left offscreen or referenced in awkward expository dialogue.

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