For 672 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 The Strange Case of Angelica
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 60 out of 672
672 movie reviews
    • 58 Metascore
    • 40 Keith Uhlich
    A dumb comedy out to prove its genre-defying smarts--the title is both an onscreen-supported reference to Walt Whitman and a wacky-tobaccy allusion--Leaves of Grass is a mostly mirthless affair; not even the sight of Edward Norton portraying twins tickles as it should.
    • 63 Metascore
    • 60 Keith Uhlich
    It’s a kick to see Cera cut loose from his patented befuddled-nerd routine, even if the film’s caricatured performances and fish-in-a-barrel scorn are sure to be monotonous for some.
    • 71 Metascore
    • 40 Keith Uhlich
    The true soulfulness of Sendak’s parable never emerges.
    • 81 Metascore
    • 40 Keith Uhlich
    Writer-director Jane Campion approaches the tale with an artiste’s respectful solemnity, but it too often comes off like "Twilight" transplanted across oceans and centuries.
    • 88 Metascore
    • 60 Keith Uhlich
    Our fury is never directed toward concrete solutions, and that allows the guilty parties to slip, perhaps permanently, from our grasp.
    • 45 Metascore
    • 60 Keith Uhlich
    The casting, from lead roles to supporting, is uniformly terrific.
    • 56 Metascore
    • 60 Keith Uhlich
    The film never entirely overcomes the sense that it's a calling-card vehicle.
    • 56 Metascore
    • 40 Keith Uhlich
    Leaving is a tawdry potboiler slathered riotously in portent, complete with a lamebrained detour into vengeance that only Claude Chabrol would be able to pull off.
    • 53 Metascore
    • 40 Keith Uhlich
    Props should be given to Rodriguez’s breathless “let’s put on a show” inventiveness. Plus, Macy and the booger--kick ass!
    • 77 Metascore
    • 80 Keith Uhlich
    Polanski has made a genre piece with a verve and vitality that’s in sadly short supply.
    • 37 Metascore
    • 40 Keith Uhlich
    There’s nothing more boring than a life embalmed with halfhearted Hollywood bombast, which only makes the film’s fleeting pleasures stand out all the more.
    • 53 Metascore
    • 40 Keith Uhlich
    For a few brief moments, the film becomes something close to Greek mythology, as opposed to graphic-novel imitator. What a feeling!
    • 43 Metascore
    • 80 Keith Uhlich
    The tone this time out is primarily comic.
    • 72 Metascore
    • 60 Keith Uhlich
    Gould is as much of a mystery at the end as at the beginning. You get the feeling that's the way he'd have wanted it.
    • 70 Metascore
    • 60 Keith Uhlich
    The film lurches through narrative incidents: Battle scenes, political intrigue and a ticking-time-bomb love triangle are all pitched at the level of mundane competence and rarely get the blood racing.
    • 87 Metascore
    • 80 Keith Uhlich
    If there's a misstep here, it would be in the character of camp medic Maj. Clipton (James Donald). His overwrought dialogue---especially some Heston-like cries of "Madness!" during the finale---is too much of an on-the-nose contrast to the story's necessarily clinical existentialism. It slightly dilutes the film's piercing grandeur, but the nit is easily enough picked.
    • 67 Metascore
    • 60 Keith Uhlich
    Terrific performances and superb cinematography (by Claire Denis’s right hand, Agnès Godard) lift cowriter-director Ursula Meier’s feature debut above its thuddingly metaphorical premise.
    • 45 Metascore
    • 60 Keith Uhlich
    The aural and visual overload that marks most of the director's work is here in spades--few documentaries look and sound so distinctive.
    • 69 Metascore
    • 40 Keith Uhlich
    The stylistic conceit of keeping us entirely with the clones (so that we are as ill-informed as they are and never get to meet their powerful oppressors) only reveals what an empty-headed abstraction this tale was from both page and frame one
    • 74 Metascore
    • 40 Keith Uhlich
    There's more than a few things off in this tale of a disillusioned professional thief (Affleck, dull), his unlikely inamorata (Hall, wasted) and the determined FBI agent (Hamm, solid) out to apprehend him.
    • 33 Metascore
    • 20 Keith Uhlich
    All three of you clamoring for a sequel to "Wild Wild West" have got your wish: Jonah Hex--an adaptation of the DC Comics series about a Western antihero with otherworldly abilities--gives that Fresh Prince–starring disaster from 1999 a run for its wasted money.
    • 66 Metascore
    • 40 Keith Uhlich
    It’s a neurotic treatise that simply adds to our cultural dementia instead of illuminating it.
    • 65 Metascore
    • 20 Keith Uhlich
    I'll respect the studio's wishes to abbreviate all plot description. God knows, they're marketing it like the second coming of "The Crying Game," though the revelations that await Nev are only shocking if you believe P.T. Barnum was really in possession of a genuine Fiji mermaid.
    • 53 Metascore
    • 80 Keith Uhlich
    It would be risible if Ozon’s hand didn’t remain so steady and confident throughout, all the way up to a complicatedly upbeat conclusion that recreates the Christian Annunciation with the straightest of faces.
    • 66 Metascore
    • 40 Keith Uhlich
    Director-cinematographer Steven Soderbergh’s indifference to the material is palpable and of a piece with his deathly dull output of late.
    • 66 Metascore
    • 60 Keith Uhlich
    If you’ve seen "Species," you know where this don’t-mess-with-Mother-Nature horror show is going, though director-cowriter Vincenzo Natali has a few interesting twists up his sleeve.
    • 65 Metascore
    • 100 Keith Uhlich
    Alain Resnais's mind-bending new feature.
    • 62 Metascore
    • 60 Keith Uhlich
    It's prime B-movie material put through the Ridley Scott Cuisinart.
    • 32 Metascore
    • 60 Keith Uhlich
    Often resembles a prime John Carpenter thriller--call it "Assault on Manger 13"--until an overcaffeinated angel-fu climax significantly lowers the intelligence quotient.
    • 51 Metascore
    • 40 Keith Uhlich
    Notwithstanding Brown's occasional half-baked critical comment about the sport's corporatization, the film ends up as a cliquish circle jerk that flatters those in the know and leaves neophytes little to mull over.
    • 65 Metascore
    • 60 Keith Uhlich
    Less deadpan spoof than loving act of possession, Black Dynamite near-fully channels the look and feel of its blaxploitation ancestors, warts and all.
    • 57 Metascore
    • 40 Keith Uhlich
    There’s little that can be done with material wrung of its complications to accommodate an ultimately life-affirming, it-all-works-out agenda.
    • 49 Metascore
    • 40 Keith Uhlich
    Let’s not dance around it: Nine--is a dud.
    • 48 Metascore
    • 40 Keith Uhlich
    Credit Broderick and the cast for putting across the fey Indiewood bullcrap with committed, nearly convincing effort.
    • 67 Metascore
    • 60 Keith Uhlich
    All the retroactively enlightened symbolism gets monotonous, and reaches an absurd apex with the introduction of a party-line newspaperman played by that scowling emblem of Teutonic depravity, Ulrich Tukur.
    • 73 Metascore
    • 100 Keith Uhlich
    Filmmakers from Jacques Rivette to Hou Hsiao-hsien have treated the City of Light like Alice’s rabbit hole; writer-director Hong Sang-soo similarly embraces the fantasy, but goes one step further in this extraordinary character study by fully erasing the line that separates the actual from the fictional.
    • 47 Metascore
    • 20 Keith Uhlich
    Even supremely talented actors like Melissa Leo (as a confidently sexy trucker) and Brendan Sexton III (as a train-station beggar) are stifled by all the pseudo-redemptive mush.
    • 27 Metascore
    • 60 Keith Uhlich
    Crank’s Mark Neveldine and Brian Taylor direct with their usual flashy brio, and basso profundo Keith David has a sublime cameo as a cop indignant at the thought of a pistachio peanut butter sandwich. It’s that kind of movie, folks.
    • 46 Metascore
    • 20 Keith Uhlich
    This smug and callous action-comedy is about nothing but teeth.
    • 75 Metascore
    • 60 Keith Uhlich
    One senses this is a production better suited to the stage.
    • 40 Metascore
    • 100 Keith Uhlich
    Gallo and Dalle are sublimely tragic figures; the scene in which Shane stalks around Notre Dame like Frankenstein unleashed is a pitch-perfect encapsulation of the way the film plays with and deepens movie-monster archetypes.
    • 43 Metascore
    • 20 Keith Uhlich
    Speed can be a virtue, but there’s something extremely off-putting about the way The Wolfman, Universal’s latest horror classic redux, races through its opening scenes.
    • 47 Metascore
    • 40 Keith Uhlich
    The cast to die for is almost entirely wasted in this machismo-marinated slab of Brit-crime nastiness.
    • 49 Metascore
    • 60 Keith Uhlich
    Her (Angela Ismailos) heart's in the right place, but her subjects' ruminations demand a much larger canvas.
    • 89 Metascore
    • 100 Keith Uhlich
    But when has a performer as fully and uniquely sacrificed himself to the moving-picture cause as De Niro? He leeches LaMotta of soul and conscience, making him a purely physical creature sculpted in sinew for the glory days, then padded up in lard for the declining years.
    • 50 Metascore
    • 40 Keith Uhlich
    A Jerry Bruckheimer–produced video-game adaptation--it has to be good, doesn’t it? (Ya, sarcasm.)
    • 41 Metascore
    • 40 Keith Uhlich
    Kilcher makes the slog worthwhile--her face gleams with possibility, even in the character’s darkest moments--though one prays she escapes the typecasting trap ASAP.
    • 92 Metascore
    • 80 Keith Uhlich
    The movie does have an air of cautiousness about it, trying so hard to be a respectful, definitive statement on WWII (and often succeeding) that it sometimes feels cadaverous.
    • 79 Metascore
    • 80 Keith Uhlich
    It's easy to think of comics, especially time-tested ones like Rivers, as mechanical laugh-generators. Stern and Sundberg allow her to reveal the deep-rooted humanity of those ever-present quips, and the effect is humbling.
    • 83 Metascore
    • 60 Keith Uhlich
    It’s unfortunate that the result is so unaffecting, especially in light of all the things the director does right.
    • 28 Metascore
    • 20 Keith Uhlich
    This is hackwork of the highest order, lacking in all poetry and barely comprehensible aurally or visually.
    • 81 Metascore
    • 40 Keith Uhlich
    A grimy kitchen-sink melodrama with an Ajax cleanser script: The muck is all surface, the turmoil cleanly shallow and contrived, though never less than gripping.
    • 39 Metascore
    • 60 Keith Uhlich
    It helps that Fame has been cast with performers who have the glow of possibility about them.
    • 72 Metascore
    • 40 Keith Uhlich
    A slipshod documentary about a fascinating subject: the loaded history and current complications of African-American hairstyling.
    • 23 Metascore
    • 20 Keith Uhlich
    It’s too easy to say that Peter Billingsley shot his eye out with this inept comic trifle, but…well, he shot his eye out.
    • 60 Metascore
    • 60 Keith Uhlich
    This is the kind of movie in which it's considered the zenith of meta-wit to have a slumming Robert De Niro (as Machete's racist politico nemesis) drive a taxi.
    • 57 Metascore
    • 80 Keith Uhlich
    Taken on its own fun-over-philosophy terms, this is an exercise in tone-shifting virtuosity.
    • 81 Metascore
    • 60 Keith Uhlich
    The ideologies underlying Andersson’s oft-astonishing succession of extreme wide-angle, vanishing-point tableaux are a decidedly acquired taste.
    • 50 Metascore
    • 60 Keith Uhlich
    Antal and his performers’ pure B-movie esprit is undeniable.
    • 37 Metascore
    • 60 Keith Uhlich
    Anderson makes often-inspiring use of the 3-D effects.
    • 40 Metascore
    • 20 Keith Uhlich
    Bless you, R.Patz & Co., because this gloriously steaming pile is officially in the bad-movies-we-love pantheon.
    • 45 Metascore
    • 20 Keith Uhlich
    It’s a dud.
    • 36 Metascore
    • 60 Keith Uhlich
    This is one case where there’s more life in the morgue than out.
    • 77 Metascore
    • 40 Keith Uhlich
    This is the kind of autumnal sentimentality that the Academy goes wild for-a (rightly) venerated performer acknowledging his own mortality by pandering to cheap-seat emotions.
    • 83 Metascore
    • 100 Keith Uhlich
    This is Young in his playroom, grabbing his toys at random while indulging his every antimelodic whim, and Demme’s off-the-cuff approach makes for the perfect aesthetic complement.
    • 37 Metascore
    • 40 Keith Uhlich
    Cue those weepy violins. Indeed, you get everything you'd expect from this mostly saccharine melodrama.
    • tbd Metascore
    • 40 Keith Uhlich
    Sontag’s true talent was for the printed word; behind the camera, her limitations come more harshly to light. Upon Promised Land’s release, she recounted her experiences in Vogue--an all-too-appropriate forum since her film is mostly chic posturing.
    • tbd Metascore
    • 100 Keith Uhlich
    The meanings of Close-Up shift, subtly and profoundly, with every viewing; the only certainty is that its rewards are boundless.
    • 24 Metascore
    • 20 Keith Uhlich
    Only Billy Connolly, as the boys’ way-of-the-gun pa, brings a smidgen of sobering gravitas to the proceedings, though he can hardly counter the pounding hangover brought on by all the mock-virtuous butchery.
    • 62 Metascore
    • 40 Keith Uhlich
    The film slowly loses the sobering toughness of its initial inquiry, and finally comes off as bloodline-biased hagiography.
    • 31 Metascore
    • 20 Keith Uhlich
    Desperation oozes from every frame of Cop Out, which front-loads its best joke -- then spends the rest of its running time endlessly spinning its wheels.
    • 65 Metascore
    • 40 Keith Uhlich
    Jolie must eventually become a comic-book supergirl impervious to explosions and bullets, all the better to set up a "Bourne"-like franchise by the final fade-out.
    • 27 Metascore
    • 40 Keith Uhlich
    One wrongheaded jaw-dropper follows another.

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