Keith Uhlich
Select another critic »For 726 reviews, this critic has graded:
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34% higher than the average critic
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1% same as the average critic
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65% lower than the average critic
On average, this critic grades 7.3 points lower than other critics.
(0-100 point scale)
Keith Uhlich's Scores
- Movies
- TV
Average review score: | 57 | |
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Highest review score: | Level Five | |
Lowest review score: | Jojo Rabbit |
Score distribution:
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Positive: 197 out of 726
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Mixed: 461 out of 726
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Negative: 68 out of 726
726
movie
reviews
- By Date
- By Critic Score
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- Keith Uhlich
Where the love story was a means-to-an-end afterthought in the first Matrix, it’s now the crux of the tale, and the emotional undercurrents are so intoxicating that it more than makes up for the relative inelegance of the action scenes.- Slant Magazine
- Posted Dec 21, 2021
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- Keith Uhlich
Getting old, as Jackie and Don would have it, is part of their overall project. More than once they talk about the impermanence of the materials they use. One day, their art will cease to be, as will they. That Zen pronouncement doesn’t make the day-in/day-out drudgery of aging any easier.- The Hollywood Reporter
- Posted Nov 19, 2021
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- Keith Uhlich
This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.- Slant Magazine
- Posted Sep 29, 2021
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- Keith Uhlich
What’s absent here is the murderous lust for power that dovetails with Macbeth and Lady Macbeth’s lust for each other, and which proves their mutual undoing.- Slant Magazine
- Posted Sep 24, 2021
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- Keith Uhlich
When it comes to individual people and their hopes, fears and desires, Akl has a talent for both the surreal flourish and the grounded insight. In this case, the bigger picture and the larger point are what prove elusive, leaving the whole enterprise feeling sadly schematic.- The Hollywood Reporter
- Posted Sep 18, 2021
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- Keith Uhlich
Terence Davies’s film is a rhapsodic portrayal of an upper-crust milieu in which words are wielded like weapons by people who might otherwise be pariahs.- Slant Magazine
- Posted Sep 16, 2021
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- Keith Uhlich
Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.- Slant Magazine
- Posted Mar 30, 2021
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- Keith Uhlich
Its provocations can seem savage at a glance, but they emerge from an observational tranquility that is uniquely Frederick Wiseman’s own.- Slant Magazine
- Posted Sep 12, 2020
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- Keith Uhlich
Director Nick Rowland couldn't ask for a more magnetically tormented character to anchor his low-key-to-a-fault feature debut.- The Hollywood Reporter
- Posted Jul 31, 2020
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- The Hollywood Reporter
- Posted Apr 15, 2020
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- The Hollywood Reporter
- Posted Mar 12, 2020
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- Keith Uhlich
The closing scenes of Straight Up are more contrived and constrained — an acquiescence to living inside the box, with one dramatic wrinkle that feels tacked on and ill-considered. The fiery talent that Sweeney displays throughout, both in front of and behind the camera, regrettably ends up ashen.- The Hollywood Reporter
- Posted Feb 24, 2020
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- Keith Uhlich
At one point, Tsemel describes herself as a member of an occupying force and defines her mission in life as to somehow rectify the resultant power imbalance. The only way to get there, as the film's pointed final image suggests, is to keep on trudging.- The Hollywood Reporter
- Posted Jan 2, 2020
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- Keith Uhlich
Marielle Heller takes a script that many filmmakers would turn into cringe-inducing treacle and interrogates the sentimental trappings.- Slant Magazine
- Posted Nov 20, 2019
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- Keith Uhlich
In the end, it can’t help but sentimentalize the better angels that supposedly reside in the land of liberty’s flawed human fabric.- Slant Magazine
- Posted Nov 9, 2019
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- Keith Uhlich
The sense of a nascent community rising up out of the primordial muck is palpable, so it’s unfortunate that John Magaro and Orion Lee's characters ultimately feel outside it all.- Slant Magazine
- Posted Oct 7, 2019
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- Keith Uhlich
Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.- Slant Magazine
- Posted Oct 1, 2019
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- Keith Uhlich
Scorsese knows what his audience is hoping for: glory days, resurrected. But he also understands the impossibility of anyone being exactly as they once were. So he weaves that longing into both The Irishman‘s text and its technique.- Slant Magazine
- Posted Sep 27, 2019
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- Keith Uhlich
This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations.- The Hollywood Reporter
- Posted Sep 25, 2019
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- Keith Uhlich
There's a tight, tense thriller in all this. Unfortunately, director Deon Taylor and screenwriter Peter A. Dowling stretch things out to a logy 104 minutes. Too often, the suspense dissipates between action scenes when it should be consistent and relentless, even in the quietest moments.- The Hollywood Reporter
- Posted Sep 23, 2019
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- The Hollywood Reporter
- Posted Sep 19, 2019
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- Keith Uhlich
The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.- Slant Magazine
- Posted Sep 19, 2019
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- Keith Uhlich
Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.- Slant Magazine
- Posted Sep 18, 2019
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- Keith Uhlich
Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.- Slant Magazine
- Posted Sep 15, 2019
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- Keith Uhlich
The images, and the actions within them, lack the acerbic edge that would really drive the knife in.- The Hollywood Reporter
- Posted Sep 14, 2019
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- Keith Uhlich
The film is one that might have been dreamed up by one of the cynical douche bros from the Hangover during a blacked-out stupor.- Slant Magazine
- Posted Sep 10, 2019
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- Keith Uhlich
Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.- Slant Magazine
- Posted Sep 9, 2019
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- Keith Uhlich
It’s not hard to parallel David/Dickens’s head-spinningly intricate descriptors with Iannucci’s own prodding, poetically vulgar rhetoric.- Slant Magazine
- Posted Sep 6, 2019
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- Keith Uhlich
The blurring of the lines between fiction and fact still mostly feels like a crutch or an affectation. It's as if Cordero and Croda are trying to goose the drama rather than unearth it, never entirely trusting that Felipe's life is interesting enough as is.- The Hollywood Reporter
- Posted Sep 5, 2019
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- Keith Uhlich
Schimberg confidently blurs the lines between fantasy and reality (more than once a scene that appears to be real is actually fiction and vice versa), though never to the point that it detracts from the people onscreen.- The Hollywood Reporter
- Posted Sep 2, 2019
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