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 7.7 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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    • 85 Metascore
    • 100 Keith Uhlich
    Take Shelter
    Nichols has said that the idea for the film emerged from a free-floating anxiety that he sensed in the world at large, the feeling that everything we treasure in life could be lost in an instant. That sensation permeates this strikingly original movie - especially its enigmatic mind-fuck of a finale, which will haunt you for several lifetimes.
    • 61 Metascore
    • 100 Keith Uhlich
    Margaret
    And though not all of Lonergan's conceits work on a scene-by-scene basis (an upper-crust womanizer played by Jean Reno skews a bit too close to caricature), the film has a cumulative power-solidified by a devastating opera-house finale-that's staggering. This is frayed-edges filmmaking at its finest.
    • 25 Metascore
    • 20 Keith Uhlich
    Abduction
    Twi-Hards shall attend en masse. Adults shall roll their eyes. And on our human comedy shall go.
    • 81 Metascore
    • 60 Keith Uhlich
    Weekend
    Weekend settles into an intentionally minor-key groove, caught somewhere between bracingly direct honesty and cringingly mumbly pretense.
    • 45 Metascore
    • 20 Keith Uhlich
    Straw Dogs
    This one barely musters a pulse.
    • 57 Metascore
    • 60 Keith Uhlich
    Limelight
    This is still a fascinating history, especially when Limelight touches on the club scene's dark side: A lengthy dissection of the Angel Melendez murder, complete with an appearance by weathered-looking killer Michael Alig, chillingly shows how the out-all-night lifestyle can take its toll.
    • 76 Metascore
    • 80 Keith Uhlich
    Silent Souls
    Even at a mere 75 minutes, Silent Souls is thrillingly dense and allusive, and the elegiac finale maintains the overall air of mystery while beautifully bringing all the disparate threads together.
    • 38 Metascore
    • 20 Keith Uhlich
    I Don't Know How She Does It
    Only Kinnear manages to give his role some shades beyond the broadly farcical, though even he ultimately succumbs to his leading lady's toothy grin and Oprah-sanctioned bromides.
    • 53 Metascore
    • 60 Keith Uhlich
    Shaolin
    Fists fly furiously and much blood is spilled; there's a sacrifice via sword that's both cringe-inducing and cheerworthy. Even special guest star Jackie Chan gets in on the fun with a hilarious bit of food-jitsu. It's almost enough to make you forget that this entertainingly hollow film is populated entirely with toy soldiers.
    • 81 Metascore
    • 80 Keith Uhlich
    The Inheritors
    Toward the end of the film, a few hard-hitting cuts between young and old brings the title's meaning home: These children have an inescapable life of drudgery before them, and there's little likelihood it will change anytime soon.
    • 71 Metascore
    • 60 Keith Uhlich
    Warrior
    Yet it still works like gangbusters - tears will be stifled by the end of the sibling vs. sibling finale - and most of the credit should go to Hardy, Nolte and Edgerton.
    • 46 Metascore
    • 40 Keith Uhlich
    Burke and Hare
    The film doesn't come within spitting distance of vintage Landis, e.g., "Animal House" or "An American Werewolf in London." But at least it's not "The Stupids."
    • 75 Metascore
    • 60 Keith Uhlich
    Detective Dee and the Mystery of the Phantom Flame
    As the Sherlock Holmes of the second Zhou Dynasty, Lau is so effortlessly appealing that he manages to anchor the fatigue-heavy proceedings, even when his character has to outrun both the rays of the sun - don't ask - and a collapsing statue while crawling over and under a pack of stampeding horses. Now that's star power.
    • 56 Metascore
    • 60 Keith Uhlich
    Don't Be Afraid of the Dark
    When the monsters finally show themselves, this potent theme is lost amid a lot of proficiently staged but insubstantial scare scenes - heavy on musical stingers and weightless CGI.
    • 65 Metascore
    • 40 Keith Uhlich
    The Debt
    Despite the chronological juggling, the film's stylistic debts (a Hitchcock flashback borrowed from Stage Fright, a Bertolucci-esque apartment sequence that could be titled Last Tango in Auschwitz) are simplistic to a fault; they lack the multifaceted suspense and sensuality typified by those directors at their best.
    • 45 Metascore
    • 60 Keith Uhlich
    Colombiana
    The jittery aesthetic is a bit grating - there's a three-cut minimum per roundhouse kick - but the spectacularly named Olivier Megaton (Transporter 3) still manages to deliver the action-film goods.
    • 72 Metascore
    • 80 Keith Uhlich
    Iron Crows
    The filmmaking is patient and participatory, getting down in the dirt with the workers (in one case the lens is even soaked by a spray of sludge) and allowing several touchingly distinct personalities to emerge.
    • 48 Metascore
    • 40 Keith Uhlich
    One Day
    That all sours by the time of the film's "shocking" climax, which is so hilariously telegraphed, it plays like a Benny Hill gag rather than a tear-duct stoker.
    • 36 Metascore
    • 60 Keith Uhlich
    Conan the Barbarian
    The film's secret weapon proves to be Freddy Krueger–fingernailed witch Marique, whom Rose McGowan plays with the kind of fuck-it-all brio - imagine a cross between Madeline Kahn in "History of the World: Part I" and Lady Gaga - that should garner her a Razzie and an Oscar.
    • 70 Metascore
    • 60 Keith Uhlich
    The Last Circus
    Inventive yet exhausting tale of two circus clowns.
    • 73 Metascore
    • 60 Keith Uhlich
    Summer Pasture
    The subjects - a husband and wife struggling to make ends meet, mostly for the well-being of their infant daughter - are eminently engaging.
    • 49 Metascore
    • 60 Keith Uhlich
    30 Minutes or Less
    It's hard to hate a movie that affectionately references the oeuvre of Kathryn Bigelow (both The Hurt Locker and Point Break!) and uses a whiny Third Eye Blind ballad as an acidic punch line.
    • 62 Metascore
    • 40 Keith Uhlich
    The Help
    Spencer, a superb performer mainly known for small character parts, gives a star-making turn as the won't-take-no-guff Minny.
    • 59 Metascore
    • 60 Keith Uhlich
    Magic Trip
    The directors rarely go beyond the experiential to provide larger, lasting insight into the journey's generational and historical importance. As such, the comedown from this Trip is a real bitch.
    • 30 Metascore
    • 20 Keith Uhlich
    The Smurfs
    Smurftastic! Now where's that noose?
    • 68 Metascore
    • 60 Keith Uhlich
    Crazy, Stupid, Love
    It's especially disappointing when the story takes an inevitable turn to starry-eyed mush, dulling the sharp satire of the crazy, stupid ins and outs of romantic entanglement with an unconvincingly saccharine one-true-love-for-all moral.
    • 50 Metascore
    • 40 Keith Uhlich
    Cowboys & Aliens
    Favreau's direction is so boulder-heavy-the action sequences, especially the climactic assault on the alien mothership, are an eye-and-ear-shattering mess-that the small moments of poetry...are lost amid too much digital sound and fury.
    • 66 Metascore
    • 80 Keith Uhlich
    The Woman with the 5 Elephants
    Jendreyko elegantly sketches in the details of his subject's life and the historical events surrounding her coming-of-age-out of which emerges a fascinating subtext about the malleable powers of language.
    • tbd Metascore
    • 80 Keith Uhlich
    Psychohydrography
    Best seen on the big screen; even those with a cursory grasp of avant-garde cinema are likely to come away with their minds opened and altered.
    • 74 Metascore
    • 60 Keith Uhlich
    Tabloid
    Unlike a great Morris film such as "Gates of Heaven" or "Mr. Death," where the quirks of character feel connected to a larger, profoundly insightful vision of humanity, Tabloid never gets beyond its idiosyncratic surface.
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