For 182 reviews, this critic has graded:
  • 55% higher than the average critic
  • 5% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 3.2 points lower than other critics. (0-100 point scale)

Tom Keogh's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Angkor Awakens: A Portrait of Cambodia
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
  1. Negative: 37 out of 182
182 movie reviews
    • 80 Metascore
    • 50 Tom Keogh
    The story, ultimately, is about the classic conflict between a desire to cherish and protect one's unique gifts from a brutal world and a more practical instinct to compromise beauty.
    • Film.com
    • 74 Metascore
    • 50 Tom Keogh
    The would-be emotional centerpiece of his three-hours-plus adventure flick is the most juvenile romantic tale of 1997.
    • Film.com
    • 71 Metascore
    • 40 Tom Keogh
    This is a pretty leaden cinematic experience.
    • Film.com
    • 71 Metascore
    • 50 Tom Keogh
    Ross might have been better served by dismissing verisimilitude altogether and going for a real fable-fable to make what is essentially a very simple point about the dangers and rewards of accepting life's beautiful risks.
    • Film.com
    • 66 Metascore
    • 40 Tom Keogh
    This much-anticipated but terribly underwhelming black comedy represents a seriously squandered opportunity.
    • 65 Metascore
    • 50 Tom Keogh
    The script by Liu Zhenyun becomes ponderous and redundant, kept on oxygen by its lead actress’s complex performance as a child-woman with enigmatic wisdom.
    • 62 Metascore
    • 60 Tom Keogh
    All fleeting charm where it could have been one of the most memorable films of the decade.
    • 61 Metascore
    • 50 Tom Keogh
    Simply a case of severe overreaching and the illusion that an overstuffed movie is an epic movie.
    • 59 Metascore
    • 50 Tom Keogh
    Once at sea, The Perfect Storm collapses in a heap of spectacle and a dubious piling-on of scary incidents.
    • 59 Metascore
    • 40 Tom Keogh
    The film's very premise, while initially promising, doesn't hold up to lengthy scrutiny.
    • 59 Metascore
    • 60 Tom Keogh
    The film is simplicity itself.
    • 58 Metascore
    • 60 Tom Keogh
    Jim Carrey is magnificent as Kaufman.
    • 57 Metascore
    • 60 Tom Keogh
    If you're paying close attention, there is reason enough to find Up at the Villa a fascinating experience, almost an experiment in some ways, but it's not a fully realized work of cinema.
    • 55 Metascore
    • 40 Tom Keogh
    When Phillips is out of the zone, however, Road Trip slows down, awaiting another redemption.
    • 54 Metascore
    • 40 Tom Keogh
    Rounders is more involved with the insulated, arcane world of a gambler than it is with the things that actually make a movie work, such as characters and relationships and a script that connects all its dots.
    • Film.com
    • 54 Metascore
    • 60 Tom Keogh
    Streep delivers another of her chameleon-like transformations in appearance, accent, and manner.
    • 53 Metascore
    • 60 Tom Keogh
    About two lives in which transformation is a constant, destabilizing threat to freedom and sanity. That's a very provocative premise, though halfway through the movie Doyle and Walsh abandon its potential to go for easy laughs.
    • 50 Metascore
    • 60 Tom Keogh
    It is an ostensibly serious story about being young and struggling to wrest control over one's life from the hands of fools, yet it doesn't behave like a serious drama that wants to lead us anywhere.
    • Film.com
    • 50 Metascore
    • 50 Tom Keogh
    Shaft is a decent popcorn movie and Jackson rises to the responsibility of appearing bigger than life.
    • 49 Metascore
    • 50 Tom Keogh
    What the film doesn't have, ironically, is a soul.
    • 49 Metascore
    • 40 Tom Keogh
    In the tradition of "Sunrise" and "Eyes Wide Shut," crises set the characters on a kind of dreamy, nocturnal journey through chaos and fear.
    • Film.com
    • 47 Metascore
    • 50 Tom Keogh
    A dark comedy that squanders its potential and never quite, as they say, suspends disbelief.
    • 46 Metascore
    • 50 Tom Keogh
    The film’s bleached colors and Reeves’ trademark woodenness add to its emotional remoteness, though Basso, Zellweger and Belushi create a convincing family in crisis. Zellweger, especially, delivers a fascinating, complex performance as a damaged survivor.
    • 46 Metascore
    • 50 Tom Keogh
    Lawrence's style is purely will-it-stick-the-wall-or-not, and when it doesn't he looks pretty puny up there on the big screen.
    • 43 Metascore
    • 60 Tom Keogh
    Look to the cast as the best reason to see this film.
    • 42 Metascore
    • 60 Tom Keogh
    Doesn't go the distance in either story or style, unwilling to liberate itself from real or presumed expectations about what it takes to sell a movie featuring teenagers.
    • 42 Metascore
    • 50 Tom Keogh
    Despite promising elements of mixed-genre thrills, the film is finally the underwhelming sum of too many plot devices.
    • 42 Metascore
    • 60 Tom Keogh
    The film's light success really comes down to Shannon, though, the exuberant "SNL" star whose alter ego actually seems more real and sympathetic here than she does in brief TV skits.
    • 40 Metascore
    • 50 Tom Keogh
    While we may like what we see, it's impossible to comprehend what much of it means or why we should care.
    • 40 Metascore
    • 60 Tom Keogh
    A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

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