For 666 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 6.6 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Jiro Dreams of Sushi
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 57 out of 666
666 movie reviews
    • 77 Metascore
    • 80 Keith Uhlich
    It’s another fascinating entry in the director’s ongoing exploration of the sadistic and masochistic facets of human behavior.
    • 66 Metascore
    • 80 Keith Uhlich
    In comparison with near-impenetrable Garrel efforts like "Regular Lovers" (2005) and "Frontier of the Dawn" (2008), Jealousy cuts straight to the heart.
    • 87 Metascore
    • 100 Keith Uhlich
    By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.
    • 76 Metascore
    • 100 Keith Uhlich
    You might actually say the documentary itself is Mohassess’s final canvas, so infused it becomes with his alternately infuriating and infectious personality.
    • 64 Metascore
    • 60 Keith Uhlich
    These scenes make you wish the rest of the movie had similar bite, but Gibney tends toward that dutiful doc style that mixes talking heads and archival clips into a flavorless stew—a bland complement to Fela’s zesty on- and offstage presence.
    • 70 Metascore
    • 60 Keith Uhlich
    There’s a fine line between modesty and inconsequence, and this low-key, primarily improvised feature from mumblecore staple Joe Swanberg mostly blurs the divide.
    • 53 Metascore
    • 40 Keith Uhlich
    Winterbottom’s inability to bring off this lurid stew of sex and violence is one problem; his (mis)direction of Affleck is another.
    • 61 Metascore
    • 20 Keith Uhlich
    The funny thing about all these sub-"Matrix" shenanigans is that they’re genuinely meant to stoke thought and reflection. Frankly, though, few movies have left me feeling as shorn of gray matter.
    • 54 Metascore
    • 80 Keith Uhlich
    The director’s latest—a lighthearted romance set in 1920s Germany and France—won’t do much to sway proponents or detractors from their own perspectives, though taken at face value, it’s one of Allen’s most charmingly conceived and performed efforts.
    • 54 Metascore
    • 40 Keith Uhlich
    The results make your head spin more than they make your spirits soar.
    • 67 Metascore
    • 60 Keith Uhlich
    The film adheres closely to a well-reviewed theater production cocreated by and starring Andre Gregory and Wallace Shawn, both of whom get to riff on their prickly "My Dinner with Andre" rapport.
    • 81 Metascore
    • 100 Keith Uhlich
    The journey is often challenging, but the rewards—heady, emotional, provocative and invigorating—are endless.
    • 39 Metascore
    • 60 Keith Uhlich
    They have little feel for the technical side of filmmaking; the imagery is flat and the editing amateurish. Most shots seem held for a beat too long or too short, wreaking havoc with the comic rhythm. Nonetheless, McCarthy and Falcone’s attempts to make Tammy more flesh-and-blood than a figure of fun are often poignant.
    • 60 Metascore
    • 60 Keith Uhlich
    Here, though, everyone involved seems above the rom-com conventions they’re satirizing, so anxious to get to each punch line that they let the connective tissue languish. You howl often but quickly forget why.
    • 62 Metascore
    • 40 Keith Uhlich
    False moments far outweigh the genuine ones, be it smarmy Dan’s indisputable genius (he’s such a stubble-sporting rebel, he refuses to wear suits) or the bogus anticorporate finale that leaves an especially slick aftertaste.
    • 72 Metascore
    • 60 Keith Uhlich
    This is a movie that preaches to its rafters-raising choir.
    • 91 Metascore
    • 100 Keith Uhlich
    Rohmer has a genius for taking a seemingly mundane situation and slowly tightening the screws.
    • 54 Metascore
    • 60 Keith Uhlich
    Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
    • 69 Metascore
    • 80 Keith Uhlich
    Like :Carnage,: it’s a bit of a minor lark until a deliciously grotesque finale pushes it into the realm of such kinkily profound Polanski films as: Cul-de-sac: (1966) and "The Tenant" (1976). By that point, you can’t help but submit to the perversity.
    • 54 Metascore
    • 40 Keith Uhlich
    Things quickly fall apart, with a pileup of sub–Rod Serling narrative twists, a choppy action sequence heavy on the Michael Bay slo-mo and a sequel-ready climax that reveals the whole project as little more than a feature-length calling card.
    • 59 Metascore
    • 40 Keith Uhlich
    The main talking point of this empty-headed thriller from Mexican director Amat Escalante is a sure-to-be-notorious instance of penis incineration — a dubious distinction.
    • 55 Metascore
    • 60 Keith Uhlich
    Hellion aims to cut deep, striking a tone that melds the hysterical moralism of Larry Clark’s Kids (1995) with the coming-of-age melancholy of Mud’s Jeff Nichols (also this film’s executive producer).
    • 49 Metascore
    • 40 Keith Uhlich
    Only Jones seems most at home, striking just the right note of low-key malevolence. You’d follow him anywhere — maybe even into a better movie.
    • 72 Metascore
    • 80 Keith Uhlich
    Bellocchio counters these flaws with an energetically combative aesthetic (he makes you feel like you’re riding out a sociopolitical tempest, careening between perspectives) and an overarching humanism that gives equal weight to the many feelings stirred up by this hot-button situation.
    • 42 Metascore
    • 40 Keith Uhlich
    It goes off the rails early and often. You almost have to give it props for how resolutely batshit it is. Almost.
    • 68 Metascore
    • 40 Keith Uhlich
    The script—which Jones, Kieran Fitzgerald and Wesley Oliver adapted from Glendon Swarthout's 1988 novel—shifts uneasily between tragedy and comedy.
    • 75 Metascore
    • 80 Keith Uhlich
    It’s nice to see this great filmmaker sculpting something that feels genuinely revelatory. That’s not to say that the 3-D Goodbye to Language is always an easy sit.
    • 81 Metascore
    • 40 Keith Uhlich
    Once Miller lays all his cards on the table, however, you realize you haven’t been watching people struggling with the very real temptations of unchecked privilege, so much as fumbling blindly in a glib, gloomy satire of American exceptionalism.
    • 72 Metascore
    • 60 Keith Uhlich
    Nicholas Wrathall’s documentary—rough-edged in style, yet anchored by pointed and poignant interviews with the man himself — is mostly for those already fascinated by Vidal’s colorful life.
    • 44 Metascore
    • 40 Keith Uhlich
    Mostly, though, this Creek has run dry.

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