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 Ithaca
Score distribution:
  1. Negative: 65 out of 217
217 movie reviews
    • 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.
    • 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.
    • 71 Metascore
    • 50 Keith Watson
    The solemnity of Josef Kubota Wladyka’s film is at odds with the gratuitousness of its violence.
    • 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.
    • 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.
    • 49 Metascore
    • 50 Keith Watson
    Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
    • 69 Metascore
    • 50 Keith Watson
    The film undermines Cunningham’s egalitarianism by linking him directly with the kind of elite snobbery and wealth fixation he abhorred.
    • 47 Metascore
    • 50 Keith Watson
    In the film, the Battle of Midway suggests something out of a photorealistic animated film.
    • 69 Metascore
    • 50 Keith Watson
    By focusing so narrowly on the Lewis brothers’ relationship with their mother, the film inadvertently minimizes the scope of their abuse.
    • 53 Metascore
    • 50 Keith Watson
    In the film, hardly any fact about cystic fibrosis is raised without being doubly, even triply, underlined for viewers.
    • 73 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.
    • 57 Metascore
    • 50 Keith Watson
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
    • 81 Metascore
    • 50 Keith Watson
    The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.
    • 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.
    • 48 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.
    • 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.
    • 49 Metascore
    • 50 Keith Watson
    Dakota Fanning's Wendy is less a truly thought-through character than a compendium of quirks.
    • 54 Metascore
    • 50 Keith Watson
    Writer-director Bryan Buckley's film is ultimately more interested in the journalist than his story.
    • 66 Metascore
    • 50 Keith Watson
    The film has an almost pathological need to ensure that everything turns out well for every single character, while at the same time eliding any truly difficult issues.
    • 62 Metascore
    • 50 Keith Watson
    Too often, the documentary’s highly calibrated curation reduces its subjects to mere demographic representations.
    • 65 Metascore
    • 50 Keith Watson
    Doug Liman may effectively maintain a madcap energy through to the end, but unlike Adam McKay or Martin Scorsese, he isn't all that interested in explicating the complex inner workings of vast criminal enterprises.
    • 80 Metascore
    • 50 Keith Watson
    Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject.
    • 48 Metascore
    • 50 Keith Watson
    The film’s careful attention to detail in the animation is continuously undermined by a formulaic plot and anxious pandering to contemporary sensibilities.
    • 81 Metascore
    • 50 Keith Watson
    By fitting Cori, Tayla, and Blessin's lives into a predetermined narrative arc, Step reduces the girls to plucky, up-by-the-bootstraps archetypes.
    • 64 Metascore
    • 50 Keith Watson
    Just as the director seems to be settling in to tackle some heady ideas, the screenplay’s stale narrative complications instead overtake the film.
    • 49 Metascore
    • 50 Keith Watson
    Daniel Y-Li Grove adeptly creates an icy, über-hip atmosphere of sleek clubs, pulsating synths, and woozy opium trips, a style which has the unfortunate effect of draining much of the cultural specificity from his story.
    • 59 Metascore
    • 50 Keith Watson
    Cars 3 doesn't seem to care about defining the contours of its universe or exploring the possibilities of an all-car world.
    • 61 Metascore
    • 50 Keith Watson
    Sam Elliott’s calmly affecting performance is overwhelmed by a doggedly conventional screenplay that often plays like end-of-life wish-fulfillment fantasy.

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