For 709 reviews, this critic has graded:
  • 34% higher than the average critic
  • 2% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 6.7 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Margaret
Lowest review score: 0 Jojo Rabbit
Score distribution:
  1. Negative: 67 out of 709
709 movie reviews
    • 74 Metascore
    • 63 Keith Uhlich
    The sense of a nascent community rising up out of the primordial muck is palpable, so it’s unfortunate that John Magaro and Orion Lee's characters ultimately feel outside it all.
    • 36 Metascore
    • 25 Keith Uhlich
    Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
    • 94 Metascore
    • 88 Keith Uhlich
    Scorsese knows what his audience is hoping for: glory days, resurrected. But he also understands the impossibility of anyone being exactly as they once were. So he weaves that longing into both The Irishman‘s text and its technique.
    • 67 Metascore
    • 80 Keith Uhlich
    This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations.
    • tbd Metascore
    • 50 Keith Uhlich
    There's a tight, tense thriller in all this. Unfortunately, director Deon Taylor and screenwriter Peter A. Dowling stretch things out to a logy 104 minutes. Too often, the suspense dissipates between action scenes when it should be consistent and relentless, even in the quietest moments.
    • 71 Metascore
    • 70 Keith Uhlich
    Olive paints a portrait of righteous rage and determination.
    • 26 Metascore
    • 75 Keith Uhlich
    The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
    • 66 Metascore
    • 50 Keith Uhlich
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
    • 58 Metascore
    • 38 Keith Uhlich
    Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
    • 61 Metascore
    • 50 Keith Uhlich
    The images, and the actions within them, lack the acerbic edge that would really drive the knife in.
    • 59 Metascore
    • 38 Keith Uhlich
    The film is one that might have been dreamed up by one of the cynical douche bros from the Hangover during a blacked-out stupor.
    • 52 Metascore
    • 0 Keith Uhlich
    Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making.
    • 74 Metascore
    • 75 Keith Uhlich
    It’s not hard to parallel David/Dickens’s head-spinningly intricate descriptors with Iannucci’s own prodding, poetically vulgar rhetoric.
    • tbd Metascore
    • 40 Keith Uhlich
    The blurring of the lines between fiction and fact still mostly feels like a crutch or an affectation. It's as if Cordero and Croda are trying to goose the drama rather than unearth it, never entirely trusting that Felipe's life is interesting enough as is.
    • 79 Metascore
    • 90 Keith Uhlich
    Schimberg confidently blurs the lines between fantasy and reality (more than once a scene that appears to be real is actually fiction and vice versa), though never to the point that it detracts from the people onscreen.
    • 84 Metascore
    • 80 Keith Uhlich
    End of the Century is at its best whenever Castro keeps things thematically and temperamentally woozy.
    • 61 Metascore
    • 50 Keith Uhlich
    All of these beasties are "scary." Though they'd be much more so if they felt less like franchisable IP and more like fervent expressions of the ills of the eras on which the film aims to comment.
    • 77 Metascore
    • 100 Keith Uhlich
    The arc of La Flor’s first three episodes, in particular, suggests someone continually working and reworking the film of their dreams, adjusting the tone, the approach, the narrative twists and the emotional intensity on the fly.
    • 82 Metascore
    • 60 Keith Uhlich
    At its best, which is often enough, the film does provide that sort of intimate and evocative insight into a culture too often vilified due to Western ignorance. At others, the gentle exquisiteness with which Longley approaches even the most unappealing sights and sounds feels like an evasion of something more troubling, and potentially more profound.
    • 48 Metascore
    • 40 Keith Uhlich
    Stem to stern, this 88-minute slasher runs like the clockwork bit of machinery it is, and that baseline competence effectively leeches it of personality.
    • tbd Metascore
    • 80 Keith Uhlich
    Fiske and Hallin show, over the course of their very affecting movie, how this naive analogy both complements and conflicts with the ups-and-downs of Gemma's reality.
    • 60 Metascore
    • 70 Keith Uhlich
    The filmmaker seems to have been granted unprecedented access to both Manning and to the people around her, and he uses this natural, unforced intimacy to present a fragmented portrait of a person attempting to readapt to a society in which they never particularly learned how to fit.
    • 50 Metascore
    • 60 Keith Uhlich
    Since the lead character is effectively a mystery man, some lack of grounding is appropriate. Unfortunately, the impressionism — the improvisation, you might say, of this particular life (mirroring, one supposes, Bolden's approach to music) — is so dominant that it finally proves a crutch.
    • tbd Metascore
    • 40 Keith Uhlich
    Like Reichardt's Wendy and Lucy or Granik's Leave No Trace, this low-key drama focuses on a regional American woman trying to sustain herself through rough economic and emotional times. It's derivative of both films, but, for a little while at least, not disagreeably so.
    • tbd Metascore
    • 40 Keith Uhlich
    There's a shakiness in how Hormann utilizes the fact that Aynur's murder is a foregone conclusion. It's as if the director is delaying gut-wrenching emotion as opposed to letting it emerge organically from the stylistic severity.
    • 39 Metascore
    • 0 Keith Uhlich
    Nearly eight years on from the signing of all the brand extension contracts, here is the primarily pop-star-voiced animated musical UglyDolls, an imbecilic eyesore that could lay claim to being one of the worst movies ever made if it was worth such hyperbole.
    • 78 Metascore
    • 38 Keith Uhlich
    Every serious narrative beat in the film is ultimately undercut by pro-forma storytelling, or by faux-improvised humor.
    • 70 Metascore
    • 90 Keith Uhlich
    Proves so determinedly ebullient you begin to think they're pumping laughing gas into the auditorium. The most kid-friendly DC movie so far, the film is thoroughly entertaining.
    • 39 Metascore
    • 50 Keith Uhlich
    None of it adds up to much beyond painting the band, despite their often repellently bad behavior, in a flattering light.
    • 59 Metascore
    • 70 Keith Uhlich
    Two Plains & a Fancy is a cosmic joke forged on a Kickstarter budget. To paraphrase Jessica Rabbit, it made me laugh.

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