For 666 reviews, this critic has graded:
  • 34% higher than the average critic
  • 1% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Almayer's Folly
Lowest review score: 0 The Do-Over
Score distribution:
  1. Negative: 57 out of 666
666 movie reviews
    • 42 Metascore
    • 40 Keith Uhlich
    Scene by scene you wish 55 Steps made you angrier than it does. Yet August's docile filmmaking acts as an emotional soporific, removing even the potential camp pleasures of Bonham Carter's histrionics.
    • 78 Metascore
    • 70 Keith Uhlich
    This is derivative if well-executed product, except when it comes to the relationship at the film’s center.
    • 71 Metascore
    • 63 Keith Uhlich
    Good as Lucas Hedges is at acting the tortured teen, Jared is finally too much of a cipher for his story to really hit with the force that it should.
    • 26 Metascore
    • 20 Keith Uhlich
    It should surprise no one that, as Hell Fest comes to a close, Evil Hoodie Man pulls a Michael Myers disappearing act. This leads to a narrative twist so ridiculous that all non-syringe-pierced oculi will roll.
    • 80 Metascore
    • 50 Keith Uhlich
    David Lowery has a carefree, bordering on insubstantial touch, which gives rise to several rank absurdities.
    • 86 Metascore
    • 100 Keith Uhlich
    The film is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
    • 63 Metascore
    • 63 Keith Uhlich
    Felix Van Groeningen commendably sustains the story's profound sense of irresolution: abuse-rehab-relapse, abuse-rehab-relapse, abuse-rehab-relapse—an endless cycle of teeth-gritted optimism at best, soul-deadening dashed hopes at worst.
    • 63 Metascore
    • 60 Keith Uhlich
    The mystery surrounding the Slones and their missing child is much less interesting than Core's burgeoning friendship with the local sheriff, Donald Marium (James Badge Dale), who assists with the investigation.
    • 67 Metascore
    • 30 Keith Uhlich
    Sutton is aiming to make a grand statement about America's downtrodden, and he never lets you forget it.
    • 53 Metascore
    • 60 Keith Uhlich
    It's a competent, by-the-numbers action melodrama.
    • 84 Metascore
    • 90 Keith Uhlich
    No one makes movies like Peter Strickland.
    • 59 Metascore
    • 70 Keith Uhlich
    The filmmaker's expressively cockeyed impulses soon take over (he's ably assisted by the terrific cinematographer Seamus McGarvey), and the resulting craziness is quite delightful to behold in the moment and to reflect on after.
    • 67 Metascore
    • 38 Keith Uhlich
    For all of the film’s attempts to get back to the sinisterly sidling Michael of the first Halloween, his stealth movements no longer terrify because his fixations are less unthinkingly instinctual, more compulsively mortal.
    • 88 Metascore
    • 75 Keith Uhlich
    Bradley Cooper understands that a message is only as resonant as its messenger, so he surrounds himself with collaborators, old and new, who can sell even the hoariest cliché.
    • 83 Metascore
    • 80 Keith Uhlich
    This is in many ways a white-knuckle brand extension for Honnold above all else. Still, the film frequently treads into knotty territory.
    • 67 Metascore
    • 40 Keith Uhlich
    Gleeson plays the role with the kind of full-bore commitment (every supercilious gesture precise and intelligently thought through) that makes you wish the movie better complemented his efforts.
    • 83 Metascore
    • 70 Keith Uhlich
    At its strongest, the film feels like kin to Kirsten Johnson’s great Cameraperson (2016), a free-associative nonfiction memoir comprised mostly of B-roll and personal footage. Though the subject here isn’t Ross himself (despite a few offscreen aural appearances) but an entire community that, in both micro- and macrocosmic senses, has remained historically unacknowledged and unseen.
    • 88 Metascore
    • 90 Keith Uhlich
    Stephen Maing's documentary about the NYPD's illegal policing quotas and other discriminatory practices gets the blood boiling.
    • 42 Metascore
    • 40 Keith Uhlich
    Union certainly dedicates herself to all the huffing, running, jumping and emoting, though her efforts never counter Breaking In’s aura of trashiness and disposability.
    • 62 Metascore
    • 70 Keith Uhlich
    Alex Strangelove is much more affecting whenever Johnson steps out of genre comfort zones.
    • 42 Metascore
    • 30 Keith Uhlich
    Tennant is awful, by which I mean wonderful, by which I mean truly terrible, yet in a legitimately magnificent way…I think. This is a you-can’t-kill-THAT-performance! par excellence, beginning at peak nutball and staying breathlessly atop the trash heap.
    • 41 Metascore
    • 40 Keith Uhlich
    This is, in abstract, a bold and brilliant performance, an act of possession, really, and Smith never personally steps wrong in the film’s 96 minutes. But his work, sadly, is continuously undermined by everything surrounding him, beginning with a script, written by Timoner and Mikko Alanne, that frustratingly sticks to the then-this-happened conventions of a standard biopic.
    • tbd Metascore
    • 40 Keith Uhlich
    Sarah’s circumstances are so ridiculously dire that there’s little left to do but laugh at them.
    • 45 Metascore
    • 50 Keith Uhlich
    Superficiality reigns, but then a truly affecting scene will pop up.
    • 68 Metascore
    • 60 Keith Uhlich
    Pascal and Thatcher are an outwardly compelling team, though they’re playing constructs instead of characters, hollow vehicles racing through this ragged future as opposed to convincingly long-term inhabitants of it.
    • 75 Metascore
    • 40 Keith Uhlich
    Jinn consistently lets down its premise and performers with a by-the-numbers-at-best screenplay that triple-underlines all of its forward-thinking themes.
    • 46 Metascore
    • 40 Keith Uhlich
    Whatever pathos is generated comes from Reynolds' commitment to all the self-exploitation. His inimitable charm is still there beneath all the corporeal decrepitude on which Rifkin and company shamelessly linger.
    • 53 Metascore
    • 40 Keith Uhlich
    Olin never wavers in her commitment. She's often extraordinary in individual moments.
    • 47 Metascore
    • 50 Keith Uhlich
    Earnest to a fault and soft-edged in its approach to faith (God is more in the margins here than he is a central, narrative-driving presence), yet direct and moving in some scene-by-scene specifics because of their basis in reality.
    • 71 Metascore
    • 70 Keith Uhlich
    One thing's for certain: Not even Charles Darwin could fully figure this monkey out.

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