Keith Uhlich

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Slant Magazine, The Hollywood Reporter, Time Out
For 754 reviews, this critic has graded:
  • 35% higher than the average critic
  • 1% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 7.8 points lower than other critics. (0-100 point scale)

Keith Uhlich's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Level Five
Lowest review score: 0 The Do-Over
Score distribution:
  1. Positive: 218 out of 754
  2. Mixed: 467 out of 754
  3. Negative: 69 out of 754
754 movie reviews
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    • 72 Metascore
    • 60 Keith Uhlich
    Diplomacy
    Diplomacy’s origins as a play (written by Cyril Gely and starring the same actors) are always evident. Despite Schlöndorff’s attempts to give the movie some pop through widescreen lensing and noirish lighting, it’s a visually staid affair—very “filmed theater.” Fortunately, both Arestrup and Dussolier are captivating presences.
    • 50 Metascore
    • 60 Keith Uhlich
    Armored
    Antal and his performers’ pure B-movie esprit is undeniable.
    • 69 Metascore
    • 60 Keith Uhlich
    Unstoppable
    Tony Scott almost wins us over with this fun thrill ride.
    • 54 Metascore
    • 60 Keith Uhlich
    Jersey Boys
    Imagine "Goodfellas" without much in the way of stakes, and you’ll get Clint Eastwood’s pleasingly square and forgettable adaptation of the Tony-feted 2006 jukebox musical.
    • 37 Metascore
    • 60 Keith Uhlich
    Resident Evil: Afterlife
    Anderson makes often-inspiring use of the 3-D effects.
    • 48 Metascore
    • 60 Keith Uhlich
    Black Nativity
    Though Lemmons’s parable-like intentions are clear, almost every beat of Langston’s tale, with its absent father figures and heated gun-pointing melodrama, rings false — hardly a fitting contemporary complement to the Greatest Story Ever Told.
    • 66 Metascore
    • 60 Keith Uhlich
    Smash & Grab: The Story of the Pink Panthers
    Smash & Grab aims to replicate the mesmeric tension of a Michael Mann thriller (the crime-cinema impresario is even explicitly referenced by one of the cops assigned to hunt down the group), though the film is so all over the place stylistically that it often seems like several different movies cut together.
    • 36 Metascore
    • 60 Keith Uhlich
    After.Life
    This is one case where there’s more life in the morgue than out.
    • 55 Metascore
    • 60 Keith Uhlich
    Hobo with a Shotgun
    Two monologues-one in which the Hobo compares himself to a bear, the other a Travis Bickle–like screed delivered to a roomful of increasingly distressed babies-are damn near Shakespearean. It's a shame the performance is contained in a Z-movie patchwork that's a bit too knowingly repugnant.
    • 63 Metascore
    • 60 Keith Uhlich
    Monsters
    There's so much right with Gareth Edwards's low-budget alien invasion tale that you almost want to brush aside everything that's not up to snuff.
    • 64 Metascore
    • 60 Keith Uhlich
    The Grey
    Moment to moment, the film is gripping and beautiful to behold (props to cinematographer Masanobu Takayanagi for the mesmerizingly grainy, achromatic visuals). But caveat emptor to those expecting a hinterlands gloss on "Taken" with rapacious curs in place of nefarious Albanians.
    • 74 Metascore
    • 60 Keith Uhlich
    Source Code
    What begins as a tense, inventive suspense film becomes, to paraphrase Doctor Who, a wibbly-wobbly, timey-wimey, mushy-wushy mess. That's decidedly NOT fantastic.
    • 61 Metascore
    • 50 Keith Uhlich
    The Moneychanger
    The images, and the actions within them, lack the acerbic edge that would really drive the knife in.
    • 80 Metascore
    • 50 Keith Uhlich
    The Old Man & the Gun
    David Lowery has a carefree, bordering on insubstantial touch, which gives rise to several rank absurdities.
    • 80 Metascore
    • 50 Keith Uhlich
    Costa Brava, Lebanon
    When it comes to individual people and their hopes, fears and desires, Akl has a talent for both the surreal flourish and the grounded insight. In this case, the bigger picture and the larger point are what prove elusive, leaving the whole enterprise feeling sadly schematic.
    • 45 Metascore
    • 50 Keith Uhlich
    Here and Now
    Superficiality reigns, but then a truly affecting scene will pop up.
    • 68 Metascore
    • 50 Keith Uhlich
    No Time to Die
    This Bond’s overall arc from modishly merciless killing machine to aging assassin with the familial feels comes off as a treacly sop to psychological complexity.
    • tbd Metascore
    • 50 Keith Uhlich
    XOXO
    In the moment, the film's simplistic spirit is intoxicating. But take my word for it — the real-world hangover that follows is fierce.
    • 66 Metascore
    • 50 Keith Uhlich
    Judy
    Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
    • 64 Metascore
    • 50 Keith Uhlich
    Give Me Future
    Give Me Future only comes alive when it focuses on the underlying forces that allow the trio's radical sense of fun to take hold.
    • 95 Metascore
    • 50 Keith Uhlich
    One Battle After Another
    Paul Thomas Anderson’s dark comedy One Battle After Another turns overreaching into an art form.
    • 61 Metascore
    • 50 Keith Uhlich
    Scary Stories to Tell in the Dark
    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.
    • 54 Metascore
    • 50 Keith Uhlich
    Black and Blue
    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.
    • 72 Metascore
    • 50 Keith Uhlich
    The Color Purple
    The film knows the words and tunes but, with rare exception, lacks the passion and the perspective to make them truly resonate.
    • 19 Metascore
    • 50 Keith Uhlich
    Polar
    Polar is pure trash, but the generousness — and, in the final stretch, the poignancy — with which Mikkelsen approaches even the most lurid of the film's conceits at least pushes it toward the top of the garbage heap.
    • 59 Metascore
    • 50 Keith Uhlich
    Springsteen: Deliver Me from Nowhere
    There are plenty of real-life anecdotes that Scott Cooper draws from Warren Zane’s 2023 book Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska, but they’re filtered through the hoariest of biopic clichés.
    • 61 Metascore
    • 50 Keith Uhlich
    Avatar: Fire and Ash
    The crystal clarity of Russell Carpenter’s cinematography is often unnerving, as is the uncanny nature of Pandora’s computer-generated flora and fauna, which never truly seem alive and vital.
    • 39 Metascore
    • 50 Keith Uhlich
    The Dirt
    None of it adds up to much beyond painting the band, despite their often repellently bad behavior, in a flattering light.
    • 67 Metascore
    • 50 Keith Uhlich
    Calm with Horses (The Shadow of Violence)
    Director Nick Rowland couldn't ask for a more magnetically tormented character to anchor his low-key-to-a-fault feature debut.
    • 66 Metascore
    • 50 Keith Uhlich
    The Report
    In the end, it can’t help but sentimentalize the better angels that supposedly reside in the land of liberty’s flawed human fabric.
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