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
    • 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.
    • 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.
    • tbd Metascore
    • 63 Keith Watson
    The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.
    • 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.
    • 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.
    • 76 Metascore
    • 75 Keith Watson
    Lynn Shelton's film firmly resists supplying its main characters with easy, you-can-have-it-all answers.
    • 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.
    • 73 Metascore
    • 63 Keith Watson
    Director Saul Dibb has infused his adaptation of R.C. Sherriff's play with a striking sense of urgency.
    • 48 Metascore
    • 63 Keith Watson
    Opening with the pulsing synth lines of Kim Wilde's “Kids in America,” Johannes Roberts's film announces itself as a looser, bouncier, more self-consciously frivolous effort than its now decade-old predecessor.
    • 75 Metascore
    • 63 Keith Watson
    Cory Finley's screenplay is full of sharp, exactingly timed exchanges whose rat-a-tat rhythms exert a spellbinding pull, even if the dialogue at times comes off as artificial and mannered.
    • 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.
    • 66 Metascore
    • 63 Keith Watson
    The film establishes coherent characters and drops them into a twisty mystery plot that’s tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.
    • 68 Metascore
    • 63 Keith Watson
    The clash between prehistoric pastoralism and technological progress at the center of the film is laden with potential for biting comedy, but Nick Park flattens the conflict into a series of slobs-versus-snobs clichés.
    • 59 Metascore
    • 38 Keith Watson
    Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
    • 51 Metascore
    • 63 Keith Watson
    Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
    • 41 Metascore
    • 38 Keith Watson
    The Female Brain never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh. And given the shallowness of its quasi-scientific blather and the tepidness of its comedy, it ultimately does neither.
    • 52 Metascore
    • 38 Keith Watson
    The animation feels like the result of the cold calculus of an algorithm rather than a human director with a personal vision.
    • 49 Metascore
    • 50 Keith Watson
    Dakota Fanning's Wendy is less a truly thought-through character than a compendium of quirks.
    • 21 Metascore
    • 25 Keith Watson
    Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
    • 54 Metascore
    • 25 Keith Watson
    As Nicolai Fuglsig doesn't allow any complicated thoughts about war, colonization, and mortality to hover around his characters, 12 Strong inevitably proceeds as a jaunty imperial adventure through the wilds of northern Afghanistan.
    • 45 Metascore
    • 38 Keith Watson
    No matter how likable Sutherland and Mirren are, they're still stuck in little more than an upbeat wish-fulfillment fantasy.
    • 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.

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