For 218 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 218
218 movie reviews
    • 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.
    • 49 Metascore
    • 63 Keith Watson
    If all this wackiness is only occasionally laugh-out-loud funny—the ‘80s references feel particularly played out—it’s nonetheless executed with good-natured breeziness.
    • 31 Metascore
    • 25 Keith Watson
    Schmaltzy, manipulative, and tonally schizophrenic, The Book of Henry is such a monumentally misguided venture that it ends up being oddly, if unintentionally, compelling.
    • 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.
    • 63 Metascore
    • 63 Keith Watson
    After a while, the enigmatic nature of Rachel Weisz's character starts to feel less like an enticing mystery than a narrative trick.
    • 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.
    • 69 Metascore
    • 75 Keith Watson
    The film is packed with mirthful pranksterism, a vigorous anti-authoritarian streak, and literal potty humor.
    • 76 Metascore
    • 63 Keith Watson
    Wonder Woman is a strong, at times even rousing, application of the superhero film formula, but it ultimately can’t transcend the constraints of the genre.
    • 67 Metascore
    • 63 Keith Watson
    Adios may deepen our understanding of these musicians and their world, but it never quite stands on its own.
    • 37 Metascore
    • 50 Keith Watson
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
    • 71 Metascore
    • 75 Keith Watson
    It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
    • 39 Metascore
    • 38 Keith Watson
    The film's problem isn't so much the grossness of its humor as the laziness with which it's executed.
    • 45 Metascore
    • 50 Keith Watson
    The mother-daughter relationship ostensibly at the film’s heart is largely reduced to tired jokes about how moms can be overprotective and don’t understand how to use Facebook.
    • 56 Metascore
    • 50 Keith Watson
    Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
    • 74 Metascore
    • 50 Keith Watson
    Restless, at times even chaotic, the film often seems to be replicating the experience of having a manic episode.
    • 72 Metascore
    • 63 Keith Watson
    The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
    • 72 Metascore
    • 75 Keith Watson
    The film is a comedy that depicts the difficult period of transition from mourning back into normal life.
    • 60 Metascore
    • 38 Keith Watson
    The grace notes are crowded out by the screenplay’s plot machinations and emotional manipulations.
    • 40 Metascore
    • 38 Keith Watson
    It's content to be the sort of film parents can throw on an iPad to ensure 90 minutes' worth of relative peace and quiet away from their antic children.
    • 54 Metascore
    • 38 Keith Watson
    The film barely even scratches the surface of the animating force of Cézanne and Zola's lives: their art.
    • 44 Metascore
    • 38 Keith Watson
    Power Rangers is so concerned with launching a mature teen-targeted franchise that it often forgets to have some fun.
    • 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.
    • 66 Metascore
    • 50 Keith Watson
    Onur Tukel attempts to connect Ashley and Veronica’s barbarity to the broader callousness of American life, but the satire is too blunt to really stick.
    • 33 Metascore
    • 63 Keith Watson
    It's difficult to begrudge a film that has the good sense to put so much stock in Ben Kingsley's hammy theatrics.
    • 85 Metascore
    • 75 Keith Watson
    Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
    • 42 Metascore
    • 63 Keith Watson
    This is an often beautiful film, unmistakably the work of a great director but also a clearly compromised one.
    • 37 Metascore
    • 38 Keith Watson
    Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
    • 78 Metascore
    • 63 Keith Watson
    Ceyda Torun’s Kedi is an open, tender-hearted meditation on the relationship between felines and humans.
    • 58 Metascore
    • 63 Keith Watson
    Ryan Ross's Wheeler is at its strongest as a showcase for Stephen Dorff’s husky, lived-in performance.

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