For 221 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 10.7 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: 66 out of 221
221 movie reviews
    • 65 Metascore
    • 50 Keith Watson
    Scott Derrickson and C. Robert Cargill are adept enough at setting up rich, evocative horror concepts, but they don’t always know what to do with them once they’re in place.
    • 60 Metascore
    • 50 Keith Watson
    The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
    • 68 Metascore
    • 38 Keith Watson
    Hustle doesn’t really seem to know who its characters are, much less how they fit into the complicated web of sports, media, and finance that defines the NBA.
    • 75 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.
    • 78 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.
    • 76 Metascore
    • 50 Keith Watson
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.

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