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
    • tbd Metascore
    • 88 Keith Watson
    The film ultimately depicts a world in which people are left with no other option but to devour their own.
    • 94 Metascore
    • 75 Keith Watson
    Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
    • 91 Metascore
    • 75 Keith Watson
    Bas Devos’s film is a street-lit trek through the eerily empty avenues and byways of a city at sleep.
    • 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.
    • 89 Metascore
    • 63 Keith Watson
    By the time the credits roll on the film, we realize we’ve been watching not so much a sketch of the lives of farm animals as a threnody for their deaths.
    • 89 Metascore
    • 75 Keith Watson
    Dick Johnson Is Dead is very much a film about its own making, one which repeatedly exposes its artifice.
    • 88 Metascore
    • 88 Keith Watson
    A surprisingly nuanced, if at times woefully dated, attempt to depict the complexities of what W.E.B. Du Bois famously identified as the problem of the 20th century: the color line.
    • 88 Metascore
    • 75 Keith Watson
    With its elegantly restrained cinematography, exquisitely understated performances, and quietly sumptuous production design, Azor embodies the same well-mannered urbanity as its protagonist.
    • 88 Metascore
    • 88 Keith Watson
    A wilder, weirder, funnier, more heartfelt and eye-popping, and, above all, more fully realized representation of director Paul King’s eccentric sensibility.
    • 88 Metascore
    • 75 Keith Watson
    Icy absurdism and sorrowful ironies abound throughout Samuel Maoz's Foxtrot, whose laughs stick in your throat like the silent screams of its Job-like protagonist.
    • 85 Metascore
    • 75 Keith Watson
    Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
    • 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.
    • 85 Metascore
    • 88 Keith Watson
    As the world continues to suffer ever-increasing mass die-offs of honeybee colonies, Ljubomir Stefanov and Tamara Kotevska’s film reminds us that there’s indeed a better way to interact with our planet—one rooted in patience, tradition, and a true respect for our surroundings.
    • 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.
    • 83 Metascore
    • 75 Keith Watson
    The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.
    • 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.
    • 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.
    • 81 Metascore
    • 50 Keith Watson
    The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.
    • 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.
    • 81 Metascore
    • 75 Keith Watson
    The film brings Pixar's customary emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
    • 81 Metascore
    • 88 Keith Watson
    Radu Jude’s film is a bitterly comic essay on nationalist mythologies and historical amnesia.
    • 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.
    • 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.
    • 56 Metascore
    • 63 Keith Watson
    The film is brightly colored, inventively designed, and constantly flirting with the outright psychedelic, but it's so packed full of incident that it rarely gives its jokes the space to land.
    • 47 Metascore
    • 50 Keith Watson
    In the film, the Battle of Midway suggests something out of a photorealistic animated film.
    • 80 Metascore
    • 63 Keith Watson
    Though the film settles into a familiar coming-of-age trajectory, it's always enlivened by John Trengove's intimate, inquiring eye.
    • 26 Metascore
    • 25 Keith Watson
    More conspicuous than its rote melodrama is the way the film elides the concurrent genocide of ethnic Armenians by Ottoman forces.
    • 80 Metascore
    • 63 Keith Watson
    It goes a long way toward complicating our moral assumptions about trophy hunting, as well as a host of other wildlife issues, including conservation, poaching, rhino farms, and the proper balance between man and nature.
    • 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?
    • 80 Metascore
    • 75 Keith Watson
    At heart, Victor Kossakovsky's Aquarela is a war film: a cacophonous survey of the global battle between man and water.

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