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
    • 68 Metascore
    • 38 Keith Watson
    Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.
    • 76 Metascore
    • 75 Keith Watson
    Alberto Vázquez and Pedro Rivero's film is a phantasmagoria of impressionistic horror, at once despairing, beautiful, haunting, and surreal.
    • 54 Metascore
    • 50 Keith Watson
    Writer-director Bryan Buckley's film is ultimately more interested in the journalist than his story.
    • 49 Metascore
    • 38 Keith Watson
    The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
    • 81 Metascore
    • 75 Keith Watson
    The film brings Pixar's customary emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
    • 42 Metascore
    • 38 Keith Watson
    Director Timothy Reckart's The Star turns the greatest story ever told into just another kids' movie.
    • 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.
    • 30 Metascore
    • 38 Keith Watson
    The film portrays parenting as the death of manhood, a final surrender to the castrating effects of domesticity.
    • 57 Metascore
    • 63 Keith Watson
    Mark Webber's stripped-down approach renders the messy, unglamorous lives at the film's center with dignity.
    • 62 Metascore
    • 50 Keith Watson
    Too often, the documentary’s highly calibrated curation reduces its subjects to mere demographic representations.
    • 58 Metascore
    • 63 Keith Watson
    Happy Death Day twists the inherent repetitiveness of slashers to its advantage by exaggerating it to an impossible degree.
    • 39 Metascore
    • 25 Keith Watson
    Visually plain and ploddingly paced, My Little Pony: The Movie suggests four episodes of My Little Pony: Friendship Is Magic smushed together with a Sia music video tacked on at the end.
    • 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.
    • 70 Metascore
    • 75 Keith Watson
    It begins as a gleeful deadpan comedy and ends up as an exasperated cri de cœur against our current system of industrialized food production and distribution.
    • 55 Metascore
    • 38 Keith Watson
    The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
    • 80 Metascore
    • 50 Keith Watson
    Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject.
    • 57 Metascore
    • 63 Keith Watson
    The banality of Marina Willer’s voiceover only goes to prove the old cliché that a picture is worth a thousand words.
    • 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.
    • 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.
    • 47 Metascore
    • 38 Keith Watson
    Tommy Wirkola’s film squanders an evocative premise in favor of rote gun-fu carnage.
    • 46 Metascore
    • 38 Keith Watson
    Fernando Trueba fails to probe the political implications of The Queen of Spain's period milieu, which is particularly confounding given the filmmaker’s evident anti-fascist sympathies.
    • 36 Metascore
    • 38 Keith Watson
    Though it may clear the low bar set by the first film, The Nut Job 2 still suffers from many of the same problems.
    • 62 Metascore
    • 75 Keith Watson
    Like Lights out, David F. Sandberg's previous film, Annabelle: Creation is a haunted-house horror story that plays on our primeval fear of the dark.
    • 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.
    • 39 Metascore
    • 38 Keith Watson
    Lacking any vibrancy, wit, or formal rigor, First Kill is not only as bland and leaden as its über-generic title suggests, it's downright sloppy to boot.
    • 72 Metascore
    • 88 Keith Watson
    Each brief glimpse of the creature’s fleshy, slithering mass imbues the character drama with an aching sexual desire and, as the violent potential of the entity becomes clear, a mounting sense of dread.
    • 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.
    • 60 Metascore
    • 63 Keith Watson
    The ending cheapens its main character and weakens the film's firm commitment to the importance of workplace organizing.
    • 73 Metascore
    • 63 Keith Watson
    By partially demonstrating what a newer, fresher superhero movie might look like, Homecoming ultimately underlines its own genre-defined limitations.

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