For 218 reviews, this critic has graded:
  • 20% higher than the average critic
  • 3% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 10.5 points lower than other critics. (0-100 point scale)

Keith Watson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Harder They Come
Lowest review score: 12 Alice
Score distribution:
  1. Negative: 65 out of 218
218 movie reviews
    • 74 Metascore
    • 75 Keith Watson
    Throughout the film, the quick-hit jokes from the show’s rich cast of oddballs serves to suggest a vibrant world outside of the Belchers.
    • 51 Metascore
    • 38 Keith Watson
    Unlike One Cut of the Dead, Michel Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
    • 65 Metascore
    • 50 Keith Watson
    Men
    Men is ultimately about as deep as its title, a swipe at the multi-faceted terribleness of its titular subject that rarely gets beyond being a mere catalogue of the different ways that guys can be irritating around and dangerous toward women.
    • tbd Metascore
    • 63 Keith Watson
    A collage-like tale of vengeance told with an often impressionistic elusiveness, the film can also be bewildering in its juxtapositions.
    • 79 Metascore
    • 75 Keith Watson
    Apollo 10½ ultimately suggests that memory distorts and amplifies just as much as it preserves.
    • 50 Metascore
    • 50 Keith Watson
    The film’s funny and shocking gore too often plays second fiddle to meandering comedic bits revolving around the band’s recording sessions.
    • 34 Metascore
    • 25 Keith Watson
    The new Texas Chainsaw Massacre is a deeply miscalculated mix of incoherent social commentary and over-the-top gore.
    • 71 Metascore
    • 50 Keith Watson
    The solemnity of Josef Kubota Wladyka’s film is at odds with the gratuitousness of its violence.
    • 74 Metascore
    • 38 Keith Watson
    The ham-handed allegorical construction, generically titled characters, and self-serious tone in its final third drains the story of the specificity that might have resulted in a more incisive critique of the perils of perfectionism.
    • 66 Metascore
    • 75 Keith Watson
    Writer-director Nikyatu Jusu’s film ultimately proposes that survival is the greatest form of resistance.
    • 47 Metascore
    • 12 Keith Watson
    Alice plays as an inadvertent parody of contemporary liberalism’s fascination with and fetishization of ‘70s black radicalism.
    • 66 Metascore
    • 38 Keith Watson
    Mariama Diallo’s film never seems to fully buy into its horror trappings and ends up treating its characters as avatars for multiple grievances.
    • 78 Metascore
    • 75 Keith Watson
    Throughout The Humans, Stephen Karam orchestrates the highs and lows of a family reunion with Chekhovian subtlety.
    • 82 Metascore
    • 63 Keith Watson
    C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
    • 37 Metascore
    • 38 Keith Watson
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
    • 68 Metascore
    • 50 Keith Watson
    Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
    • 83 Metascore
    • 75 Keith Watson
    There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
    • 91 Metascore
    • 63 Keith Watson
    The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
    • 74 Metascore
    • 63 Keith Watson
    The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.
    • 34 Metascore
    • 25 Keith Watson
    This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.
    • 72 Metascore
    • 75 Keith Watson
    Candyman doesn’t merely note the connection between fear and remembrance, it also interrogates it from every possible angle.
    • 61 Metascore
    • 63 Keith Watson
    When Jennifer Hudson is singing her heart out, not so much approximating Aretha’s voice as channeling her soul, the effect is transportive.
    • 85 Metascore
    • 63 Keith Watson
    A methodical, if largely allegorical, exploration of its main character’s psyche, the film smooths out the enduring mysteries, opaque psychology, and narrative idiosyncrasies of its source material.
    • 55 Metascore
    • 63 Keith Watson
    Old
    In the moments when Old works, it’s because M. Night Shyamalan embraces the inherent weirdness of his material.
    • 71 Metascore
    • 63 Keith Watson
    Pixar’s most intimate and laidback effort since Ratatouille feels like a throwback to one of Mark Twain’s rollicking picaresque sagas.
    • 53 Metascore
    • 50 Keith Watson
    The film apes the style that James Wan established with the original Conjuring without establishing any real identity of its own.
    • 79 Metascore
    • 50 Keith Watson
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.
    • 76 Metascore
    • 88 Keith Watson
    Amalia Ulman’s film is a bittersweet comedy of human behavior observed with a relaxed yet intently focused eye.
    • 65 Metascore
    • 38 Keith Watson
    Dominic Cooke’s film is content to regurgitate some of the more tired artistic tropes about the Cold War.
    • 74 Metascore
    • 63 Keith Watson
    After a while, it’s hard not to feel like Radu Jude is simply shooting fish in a barrel.

Top Trailers