Keith Watson

Select another critic »
Slant Magazine, The Playlist
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. Positive: 107 out of 218
  2. Mixed: 46 out of 218
  3. Negative: 65 out of 218
218 movie reviews
view
per page
    • 43 Metascore
    • 12 Keith Watson
    A Dog's Purpose
    Lasse Hallström's gooey film exists only to offer comforting reassurances about dogs' natural servility.
    • 28 Metascore
    • 50 Keith Watson
    The Crash
    The film may be too preposterous to take seriously, but at least writer-director Aram Rappaport trains his sights on the right enemies.
    • 52 Metascore
    • 25 Keith Watson
    Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
    • 65 Metascore
    • 63 Keith Watson
    The Autopsy of Jane Doe
    This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
    • 74 Metascore
    • 63 Keith Watson
    Harry Benson: Shoot First
    While it offers ample opportunity to admire Benson's body of work, it provides few aesthetic delights of its own.
    • 48 Metascore
    • 38 Keith Watson
    Pet
    The screenplay quickly loses this moral clarity as the plot twists pile up and the power balances shift.
    • 64 Metascore
    • 50 Keith Watson
    Mifune: The Last Samurai
    In many ways, Toshirô Mifune the man remains just as mysterious after watching Steven Okazaki's film as he was before.
    • 24 Metascore
    • 25 Keith Watson
    Life on the Line
    For a film about such a singular profession, Life on the Line offers surprisingly little insight into linemen's day-to-day labor.
    • 48 Metascore
    • 50 Keith Watson
    The Take
    For a film so interested in the public's malleability, The Take isn't particularly good at controlling its own audience.
    • 55 Metascore
    • 50 Keith Watson
    Almost Christmas
    The film is most affecting in its simpler moments, particularly those revolving around food.
    • 25 Metascore
    • 50 Keith Watson
    My Dead Boyfriend
    Slacker that it is, the film never seems willing to put in the necessary work to live up to its potential.
    • 55 Metascore
    • 63 Keith Watson
    Trolls
    Trolls is a flashy, pre-fab product, but the animators are given just enough space to create moments of genuine artistry.
    • 28 Metascore
    • 12 Keith Watson
    The Unspoken
    It feels like Sheldon Wilson tossed a bunch of third-hand scares in a blender and set it to puree, resulting in a gray, flavorless sludge.
    • 63 Metascore
    • 50 Keith Watson
    Before the Flood
    The documentary's focus on elite solutionism effectively erases the role of popular agitation in formulating social change.
    • 38 Metascore
    • 25 Keith Watson
    Jack Goes Home
    The film veers almost at random from ghost story to family drama to erotic thriller to black comedy.
    • 51 Metascore
    • 50 Keith Watson
    Middle School: The Worst Years of My Life
    Unimaginatively directed and indifferently shot, the film never establishes a distinctive voice for itself.
    • 46 Metascore
    • 63 Keith Watson
    London Town
    The film evinces a clear-eyed sense of the limits that a capitalistic society places on its working class.
    • 70 Metascore
    • 63 Keith Watson
    Long Way North
    Even if Long Way North's narrative makes for a bland frame, there’s no denying the beauty of the picture it holds.
    • 70 Metascore
    • 63 Keith Watson
    A Man Called Ove
    It's emotionally manipulative, but its two leads find a core of humanity even in the most calculating plot machinations.
    • 47 Metascore
    • 50 Keith Watson
    Blair Witch
    It doesn't suggest documentary footage found in the woods so much as a haunted-house version of Hardcore Henry.
    • tbd Metascore
    • 50 Keith Watson
    A Beautiful Now
    Writer-director Daniela Amavia fails to link the lives of her characters to any deeper sense of meaning.
    • 36 Metascore
    • 12 Keith Watson
    Ithaca
    The film is confused in conception, dreary in execution, and completely lacking in forward momentum.
    • 67 Metascore
    • 63 Keith Watson
    Other People
    The film is at its sharpest when Chris Kelly hands scenes over to his main character's family and friends.
    • 50 Metascore
    • 50 Keith Watson
    Skiptrace
    The film's bloated action-comedy machinery prevents any real chemistry from forming between Jackie Chan and Johnny Knoxville.
    • 38 Metascore
    • 25 Keith Watson
    Ben-Hur
    Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
    • 38 Metascore
    • 38 Keith Watson
    Amateur Night
    The film is peppered with interesting true-life details, but these are overwhelmed by frantic comedic sequences.
    • 50 Metascore
    • 63 Keith Watson
    The Land
    Writer-director Steven Caple Jr.'s social-realist tendencies run up against some unconvincing genre elements.
    • 72 Metascore
    • 25 Keith Watson
    Captain Fantastic
    The film is premised on a radical act that it buries beneath a grueling avalanche of quirk.
    • 51 Metascore
    • 38 Keith Watson
    Tony Robbins: I Am Not Your Guru
    Director Joe Berlinger essentially allows his subject to hijack the film for his own end.
    • 88 Metascore
    • 88 Keith Watson
    Show Boat
    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.
Page:

Top Trailers

See all »
See all trailers »