For 217 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 10.6 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 217
217 movie reviews
    • 51 Metascore
    • 38 Keith Watson
    Unlike One Cut of the Dead, Michel Hazanavicius’s similar ode to low-budget resourcefulness often rings false.
    • 34 Metascore
    • 25 Keith Watson
    The new Texas Chainsaw Massacre is a deeply miscalculated mix of incoherent social commentary and over-the-top gore.
    • 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.
    • 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.
    • 37 Metascore
    • 38 Keith Watson
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
    • 34 Metascore
    • 25 Keith Watson
    This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.
    • 65 Metascore
    • 38 Keith Watson
    Dominic Cooke’s film is content to regurgitate some of the more tired artistic tropes about the Cold War.
    • 58 Metascore
    • 25 Keith Watson
    The film minimizes the tragedy of the human race’s near-complete annihilation by positioning it as the backdrop for the world’s most grandiose deadbeat-dad redemption arc.
    • 58 Metascore
    • 38 Keith Watson
    Everything here wraps up as tidily as it does in your average Hallmark Channel movie.
    • 63 Metascore
    • 38 Keith Watson
    Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
    • 40 Metascore
    • 25 Keith Watson
    Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics.
    • 39 Metascore
    • 38 Keith Watson
    The film is ostensibly about the war for the soul of a house, but it couldn’t feel less lived in.
    • 46 Metascore
    • 25 Keith Watson
    The film is a clunky, overwritten attempt to pack as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
    • 51 Metascore
    • 38 Keith Watson
    Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
    • 49 Metascore
    • 38 Keith Watson
    Carol Morley’s film wants to blow our minds, but it succeeds only at rousing our boredom.
    • 51 Metascore
    • 38 Keith Watson
    Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
    • 48 Metascore
    • 38 Keith Watson
    Jonas Åkerlund’s breezy approach to this material not only cheapens the music, but also has the effect of downplaying the severity of the scene’s truly unsavory politics.
    • 24 Metascore
    • 25 Keith Watson
    The grim Australian biker drama Outlaws is little more than an endless stream of brooding, yelling, and “badass” posturing broken up by grisly violence and gratuitous sex scenes.
    • 28 Metascore
    • 12 Keith Watson
    The words of Henry James have never sounded as leaden and preposterous as they do in Julien Landais’s The Aspern Papers.
    • 51 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 25 Keith Watson
    James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.
    • 71 Metascore
    • 38 Keith Watson
    RBG
    The film rarely presents a clear analysis of Ruth Bader Ginsburg's victories, reducing her work to empty slogans.
    • 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.
    • 36 Metascore
    • 25 Keith Watson
    Arthur Conan Doyle's legendary characters feel as if they've been air-dropped into a universe where they don't belong.

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