For 636 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 5.7 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Bam gua nat
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 52 out of 636
636 movie reviews
    • 67 Metascore
    • 60 Keith Uhlich
    The film's commitment to representing the harsh truths of an unfortunate historical moment is admirable, but it tends to grate rather than illuminate.
    • 85 Metascore
    • 100 Keith Uhlich
    The Tree of Life enthralls right from the start.
    • 67 Metascore
    • 60 Keith Uhlich
    For an animation studio that too often specializes in the frivolous and glib (begone, Shrek series!), the move to the dark side is refreshing.
    • 81 Metascore
    • 80 Keith Uhlich
    This is prime Woody Allen - insightful, philosophical and very funny.
    • 77 Metascore
    • 60 Keith Uhlich
    The kids pick up the filmmakers' lyrical slack more often than not, but this ode to the power of verse could really use a redraft.
    • 63 Metascore
    • 80 Keith Uhlich
    As engrossing as it is maddening, Pierre Thoretton's documentary on the sale of Yves Saint Laurent's extensive art collection is perched somewhere between a sanded-edged official portrait and a keen examination of affluence run amok.
    • 45 Metascore
    • 60 Keith Uhlich
    That T.J. and his family willingly allow this headbanging psycho(analyst) to move into their cluttered, dankly lit abode-the emotional damage is palpable, yo!-is just one of the film's many eyebrow-raising contrivances.
    • 65 Metascore
    • 40 Keith Uhlich
    By the time Nick decides to have an emotionally purgative yard sale-the primary holdover from the short story-all the adult ambiguities have been traded in for facile Indiewood profundities.
    • 69 Metascore
    • 40 Keith Uhlich
    Though it holds your attention all the way through to an enigmatic, spiritually tinged climax, the movie leaves you wanting more than the Vega Vidals' secondhand artistry is able to provide.
    • 55 Metascore
    • 60 Keith Uhlich
    Two monologues-one in which the Hobo compares himself to a bear, the other a Travis Bickle–like screed delivered to a roomful of increasingly distressed babies-are damn near Shakespearean. It's a shame the performance is contained in a Z-movie patchwork that's a bit too knowingly repugnant.
    • 50 Metascore
    • 60 Keith Uhlich
    Fortunately, Teegarden and McDonell make up for the hand-me-down plotting with a sweet, unaffected chemistry.
    • 69 Metascore
    • 80 Keith Uhlich
    The film isn't blinded by Candy's beauty and celebrity; it digs critically, if still empathetically, beneath.
    • 61 Metascore
    • 40 Keith Uhlich
    Since this is a House of Mouse production, sentimental order must inevitably be grafted onto nature's pitiless chaos. The cornball voiceover ascribes human wants and desires to the animals.
    • 52 Metascore
    • 60 Keith Uhlich
    Don't go in expecting scares so much as laughs. Scream 4 is a better "Scary Movie" than any of the "Scary Movies" ever were, from its inventively gut-busting kills (watch out for that mail slot!) to the unintentionally humorous sight of the three leads acting as if they're in three separate films.
    • 62 Metascore
    • 40 Keith Uhlich
    This was Italy's official submission for Best Foreign Film to the 2011 Academy Awards (a red flag more often than not), and, sure enough there's little here that rises above middlebrow.
    • 68 Metascore
    • 80 Keith Uhlich
    The film suddenly gains in power, until it fulfills the promise of its title with hard-hitting compassion and a crystal-clear sense of grace.
    • 40 Metascore
    • 40 Keith Uhlich
    Ceremony passes by quickly and painlessly, its annoyances easily forgotten. On the plus side, Thurman and Angarano do work up a sweet odd-pair chemistry.
    • 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.
    • 31 Metascore
    • 60 Keith Uhlich
    The belly laughs do come, many of them courtesy of the mechanical bird companion.
    • 41 Metascore
    • 40 Keith Uhlich
    Hop
    The various plot threads-E.B. is pursued by a trio of ass-kickingly cute long-eared operatives; a disgruntled worker chick (voiced in emphatic Telemundo tones by Hank Azaria) orchestrates a coup d'état-mostly get lost amid all the allusions. Even Hugh Hefner pops up because, you know, Playboy Bunnies.
    • 74 Metascore
    • 60 Keith Uhlich
    What begins as a tense, inventive suspense film becomes, to paraphrase Doctor Who, a wibbly-wobbly, timey-wimey, mushy-wushy mess. That's decidedly NOT fantastic.
    • 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.
    • 33 Metascore
    • 60 Keith Uhlich
    Begins in the land of lunacy and ends up somewhere on the far side of deranged.
    • 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.
    • 27 Metascore
    • 20 Keith Uhlich
    Only Wilson acquits himself, finding a few insightful layers in his black-sheep stereotype and working up a sweet chemistry with Taraji P. Henson as his sassily devoted lady-friend.
    • 44 Metascore
    • 60 Keith Uhlich
    Lovingly designed, but dramatically inert.
    • 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.
    • 91 Metascore
    • 80 Keith Uhlich
    A moving meditation on history, knowledge and mortality.
    • 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."
    • 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.

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