For 138 reviews, this critic has graded:
  • 21% higher than the average critic
  • 2% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 12.2 points lower than other critics. (0-100 point scale)

Keith Watson's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 88 The Untamed
Lowest review score: 12 A Dog's Purpose
Score distribution:
  1. Positive: 58 out of 138
  2. Negative: 45 out of 138
138 movie reviews
    • 79 Metascore
    • 50 Keith Watson
    Lukas Dhont isn't really concerned with Lara's journey to find peace and balance, as he's interested only in her downward spiral of crisis.
    • 50 Metascore
    • 25 Keith Watson
    The film’s vision of Christmas is so insipid and lifeless, it’s hard to see why the Grinch would even bother to steal it.
    • tbd Metascore
    • 63 Keith Watson
    Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang's playful sense of humor.
    • 68 Metascore
    • 63 Keith Watson
    According tot he film, truly courageous artists aren't necessarily the ones who tackle the state head-on, but rather the ones who stay true to themselves even when no one likes what they have to say.
    • 57 Metascore
    • 50 Keith Watson
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
    • 83 Metascore
    • 75 Keith Watson
    The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
    • 82 Metascore
    • 50 Keith Watson
    The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.
    • 52 Metascore
    • 25 Keith Watson
    There's an appealingly shaggy buddy comedy hidden somewhere inside of The Spy Who Dumped Me, but good luck finding it amid all the desperate poop jokes, lifeless action sequences, and lazy plot mechanics.
    • 69 Metascore
    • 75 Keith Watson
    Peter Rida Michail and Aaron Horvath's Teen Titans Go! To the Movies is a spastic, Mad magazine-style parody of comic-book movies for the age of superhero overload.
    • 63 Metascore
    • 38 Keith Watson
    The film in effect positions young jihadis less as fervid, bloodthirsty psychopaths and more as dumb kids at summer camp.
    • 72 Metascore
    • 63 Keith Watson
    Kimberly Reed's approach is too bloodless to make us feel the full weight of the injustices her film identifies.
    • 57 Metascore
    • 63 Keith Watson
    Uncle Drew, the old-school streetballer played by NBA all-star Kyrie Irving, is a cheerfully scruffy creation, and so is the film that bears his name.
    • 69 Metascore
    • 63 Keith Watson
    While Clio Barnard so masterfully limns her protagonist’s tortured soul, the brother-sister drama at the center of the film remains frustratingly hazy.
    • 50 Metascore
    • 38 Keith Watson
    Christopher Plummer brings a twinkly eyed insouciance to his character, but there's only so many times Jack can make a joke about, say, his adult diapers before it becomes thin and hollow.
    • 80 Metascore
    • 63 Keith Watson
    Everything in Incredibles 2 is inexorably driven toward a big final blowout. That sequence is suitably grand and eye-popping, but haven’t we seen all of this before?
    • 52 Metascore
    • 38 Keith Watson
    SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.
    • 61 Metascore
    • 63 Keith Watson
    The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef's uniquely obsessive work habits.
    • 56 Metascore
    • 75 Keith Watson
    Director Baltasar Kormákur's film is a simple, acutely observed love story that also happens to be a rousingly stripped-down tale of survival.
    • 68 Metascore
    • 63 Keith Watson
    As he showed in "The Imposter," writer-director Bart Layton knows how to spin a compelling yarn.
    • 59 Metascore
    • 50 Keith Watson
    Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.
    • 53 Metascore
    • 50 Keith Watson
    It’s been said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman's film.
    • 42 Metascore
    • 25 Keith Watson
    James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.
    • 81 Metascore
    • 75 Keith Watson
    The film captures the pictorial beauty of old-fashioned farm life, but director Xavier Beauvois is careful not to romanticize hard labor for its own sake.
    • 72 Metascore
    • 38 Keith Watson
    RBG
    The film rarely presents a clear analysis of Ruth Bader Ginsburg's victories, reducing her work to empty slogans.
    • tbd Metascore
    • 63 Keith Watson
    The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.
    • 47 Metascore
    • 50 Keith Watson
    Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.
    • 41 Metascore
    • 38 Keith Watson
    Given the sheer amount of comic material here, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
    • 52 Metascore
    • 38 Keith Watson
    Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
    • 69 Metascore
    • 50 Keith Watson
    Viswanathan, Newton, and Adlon generate a bit of chemistry throughout, but it's undermined by the fundamentally mechanistic nature of Brian and Jim Kehoe's screenplay, which ultimately forces these girls' experiences into neat little scenarios that are constructed every bit as didactically as a workplace training video.
    • 70 Metascore
    • 75 Keith Watson
    Nelson Carlo de Los Santos's first fiction feature is a dazzling collage of styles and approaches in which every scene feels different from the one that came before.

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