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
    • 80 Keith Uhlich
    Agrarian Utopia
    This fascinatingly knotty movie never becomes a facile screed against the powers that be. Instead, it plays as a more relaxed and leisurely requiem for a slowly vanishing way of life, with sounds and images-a time-lapse contemplation of the cosmos is in the running for scene of the year-that are as mesmerizing as they are subtly pointed.
    • 86 Metascore
    • 80 Keith Uhlich
    Of Gods and Men
    Godly as the monks are, they are still human-which makes their ultimate sacrifice all the more devastating.
    • 70 Metascore
    • 80 Keith Uhlich
    Post Tenebras Lux
    What matters more is recognizing Post Tenebras Lux’s kinship with a strain of impressionistic autobiographical cinema practiced by filmmakers such as Andrei Tarkovsky (The Mirror) and Terrence Malick (The Tree of Life) in which every sound and image seems to spring straight from the psyche.
    • 76 Metascore
    • 80 Keith Uhlich
    Is the Man Who Is Tall Happy?
    The point, of course, is to get lost. As the soft-spoken sage himself notes, “The world is a very puzzling place.” What a pleasure it is, the film suggests, to be perpetually befuddled.
    • 81 Metascore
    • 80 Keith Uhlich
    Beginners
    A movie with an unflinchingly tough heart.
    • 64 Metascore
    • 80 Keith Uhlich
    Domain
    When the action eventually switches to an Austrian rehab retreat, Dalle gets to make like the best of the Old Hollywood divas and waste away with devastating reserve - an icon quietly, crushingly crashing to earth.
    • 71 Metascore
    • 80 Keith Uhlich
    The Disappearance of My Mother
    This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations.
    • 55 Metascore
    • 80 Keith Uhlich
    The Eagle
    Do you like movies about gladiators? Well, lend me your ears: The Eagle will more than gratify your sword-and-sandal cravings.
    • 58 Metascore
    • 80 Keith Uhlich
    The Dictator
    Even the stoniest face will crack when Aladeen sums up our cultural moment in a rousing, uproarious climactic speech worthy of both Chaplin and Team America.
    • 69 Metascore
    • 80 Keith Uhlich
    Arthur Christmas
    It would be a Christmas miracle save for one lump of coal: an ear-shattering Justin Bieber song over the end credits. Gotta sell something to the kids at Yuletide.
    • 82 Metascore
    • 80 Keith Uhlich
    Stranger by the Lake
    Though Stranger by the Lake leans a bit too heavily on its long-take, slow-cinema bona fides, there’s a clear purpose to Guiraudie’s rigorous perspective. He’s out to unearth the very potent (and often terrifying) emotions underlying every explicit act, sexual or otherwise.
    • 65 Metascore
    • 80 Keith Uhlich
    Scream of Fear
    Strasberg’s doe-eyed dedication to her role and Douglas Slocombe’s brilliant black-and-white cinematography counterbalance the film’s increasingly ridiculous plot turns, which nonetheless have a crude, jaw-dropper effectiveness.
    • 86 Metascore
    • 80 Keith Uhlich
    Drug War
    Not a bad setup for a cops-and-robbers thriller, and in the hands of action-movie maestro Johnnie To, the result comes very close to greatness.
    • 67 Metascore
    • 80 Keith Uhlich
    Damsels in Distress
    Too many movies come to us as preordained cult objects - this is the real deal.
    • 84 Metascore
    • 80 Keith Uhlich
    Moonrise Kingdom
    Anderson's romantic fantasia is after something much more complicated and profound-an ever-renewing balance between the hopes of youth and the disappointments of age.
    • 76 Metascore
    • 80 Keith Uhlich
    Hara-Kiri: Death of a Samurai
    What most distinguishes the redo is the often remarkable use of 3-D: Miike turns the format's inherent limitations, especially the tendency toward visual murkiness, to his advantage, fully immersing us in a world suffused with moral and ethical rot.
    • 82 Metascore
    • 80 Keith Uhlich
    The Illusionist
    Chomet builds this beguiling symphony of sadness to a poignant finale that does ample justice to the many layers of Tati's tale, both in text and out.
    • 54 Metascore
    • 80 Keith Uhlich
    Magic in the Moonlight
    The director’s latest—a lighthearted romance set in 1920s Germany and France—won’t do much to sway proponents or detractors from their own perspectives, though taken at face value, it’s one of Allen’s most charmingly conceived and performed efforts.
    • 81 Metascore
    • 80 Keith Uhlich
    Hell and Back Again
    Watching the formerly spry Harris struggle to maintain a normal life (he's frequently glassy-eyed and jacked on painkillers) emphasizes the underappreciated sacrifices our men and women in uniform make in the name of vaguely defined ideals.
    • 72 Metascore
    • 80 Keith Uhlich
    Un Flic (re-release)
    Delon and Crenna paint an idealized portrait of masculine camaraderie, one that’s exposed at the end of Melville’s bracing last testament as a soul-shattering illusion.
    • 77 Metascore
    • 80 Keith Uhlich
    China Heavyweight
    It's in between the lines that this movingly perceptive film scores a TKO.
    • 93 Metascore
    • 80 Keith Uhlich
    The Best Years of Our Lives
    The movie does have an air of cautiousness about it, trying so hard to be a respectful, definitive statement on WWII (and often succeeding) that it sometimes feels cadaverous.
    • 79 Metascore
    • 80 Keith Uhlich
    Joan Rivers: A Piece of Work
    It's easy to think of comics, especially time-tested ones like Rivers, as mechanical laugh-generators. Stern and Sundberg allow her to reveal the deep-rooted humanity of those ever-present quips, and the effect is humbling.
    • 54 Metascore
    • 80 Keith Uhlich
    Passion
    This is truly De Palma–ville, and the filmmaker’s remake of Alain Corneau’s tale of corporate bloodletting, "Love Crime" (2010), is a welcome return to the carnal shockers that he does so well.
    • 75 Metascore
    • 80 Keith Uhlich
    Funny Face
    Sensation trumps cogitation-unsurprising in a Hollywood production-which doesn't negate the enduring allure of this beautiful bauble.
    • 87 Metascore
    • 80 Keith Uhlich
    Poetry
    Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.
    • 75 Metascore
    • 80 Keith Uhlich
    The Plagiarists
    The film improves upon reflection, raising, as it does, some knotty questions about originality in art and in life, as well as provocatively positing that even a copy of a copy of a copy has the potential to move hearts and minds.
    • 69 Metascore
    • 80 Keith Uhlich
    Amour Fou
    One thing’s certain: This is no swoony love story. It intoxicates all the same.
    • 57 Metascore
    • 80 Keith Uhlich
    A Woman, a Gun and a Noodle Shop
    Taken on its own fun-over-philosophy terms, this is an exercise in tone-shifting virtuosity.
    • 72 Metascore
    • 80 Keith Uhlich
    Shame
    Fassbender and his multifaceted allure helps counteract any thematic or conceptual shakiness, as was the case in McQueen's highly uneven debut, "Hunger." One thing's for sure: McQueen has found his De Niro, and he better keep him close.
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