For 719 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 7.1 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 National Gallery
Lowest review score: 0 UglyDolls
Score distribution:
  1. Negative: 68 out of 719
719 movie reviews
    • 59 Metascore
    • 25 Keith Uhlich
    Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
    • 88 Metascore
    • 88 Keith Uhlich
    Its provocations can seem savage at a glance, but they emerge from an observational tranquility that is uniquely Frederick Wiseman’s own.
    • 67 Metascore
    • 50 Keith Uhlich
    Director Nick Rowland couldn't ask for a more magnetically tormented character to anchor his low-key-to-a-fault feature debut.
    • 74 Metascore
    • 80 Keith Uhlich
    [A] very funny, very moving documentary.
    • 75 Metascore
    • 80 Keith Uhlich
    Heimat certainly has the feel of a summative work
    • 66 Metascore
    • 60 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.
    • 77 Metascore
    • 80 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.
    • 80 Metascore
    • 88 Keith Uhlich
    Marielle Heller takes a script that many filmmakers would turn into cringe-inducing treacle and interrogates the sentimental trappings.
    • 66 Metascore
    • 50 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.
    • 89 Metascore
    • 63 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.
    • 36 Metascore
    • 25 Keith Uhlich
    Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
    • 94 Metascore
    • 88 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.
    • 71 Metascore
    • 80 Keith Uhlich
    This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations.
    • 54 Metascore
    • 50 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.
    • 71 Metascore
    • 70 Keith Uhlich
    Olive paints a portrait of righteous rage and determination.
    • 26 Metascore
    • 75 Keith Uhlich
    The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
    • 66 Metascore
    • 50 Keith Uhlich
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
    • 57 Metascore
    • 38 Keith Uhlich
    Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
    • 61 Metascore
    • 50 Keith Uhlich
    The images, and the actions within them, lack the acerbic edge that would really drive the knife in.
    • 59 Metascore
    • 38 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.
    • 58 Metascore
    • 0 Keith Uhlich
    Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
    • 77 Metascore
    • 75 Keith Uhlich
    It’s not hard to parallel David/Dickens’s head-spinningly intricate descriptors with Iannucci’s own prodding, poetically vulgar rhetoric.
    • tbd Metascore
    • 40 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.
    • 79 Metascore
    • 90 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.
    • 80 Metascore
    • 80 Keith Uhlich
    End of the Century is at its best whenever Castro keeps things thematically and temperamentally woozy.
    • 61 Metascore
    • 50 Keith Uhlich
    All of these beasties are "scary." Though they'd be much more so if they felt less like franchisable IP and more like fervent expressions of the ills of the eras on which the film aims to comment.
    • 77 Metascore
    • 100 Keith Uhlich
    The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.
    • 82 Metascore
    • 60 Keith Uhlich
    At its best, which is often enough, the film does provide that sort of intimate and evocative insight into a culture too often vilified due to Western ignorance. At others, the gentle exquisiteness with which Longley approaches even the most unappealing sights and sounds feels like an evasion of something more troubling, and potentially more profound.
    • 48 Metascore
    • 40 Keith Uhlich
    Stem to stern, this 88-minute slasher runs like the clockwork bit of machinery it is, and that baseline competence effectively leeches it of personality.
    • 89 Metascore
    • 80 Keith Uhlich
    Fiske and Hallin show, over the course of their very affecting movie, how this naive analogy both complements and conflicts with the ups-and-downs of Gemma's reality.

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