Keith Watson

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Slant Magazine, The Playlist
For 235 reviews, this critic has graded:
  • 19% higher than the average critic
  • 4% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 11.2 points lower than other critics. (0-100 point scale)

Keith Watson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 The Harder They Come
Lowest review score: 12 Ithaca
Score distribution:
  1. Positive: 115 out of 235
  2. Mixed: 51 out of 235
  3. Negative: 69 out of 235
235 movie reviews
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    • 68 Metascore
    • 63 Keith Watson
    Dovlatov
    According tot he film, truly courageous artists aren't necessarily the ones who tackle the state head-on, but rather the ones who stay true to themselves even when no one likes what they have to say.
    • 46 Metascore
    • 63 Keith Watson
    London Town
    The film evinces a clear-eyed sense of the limits that a capitalistic society places on its working class.
    • 71 Metascore
    • 63 Keith Watson
    Luca
    Pixar’s most intimate and laidback effort since Ratatouille feels like a throwback to one of Mark Twain’s rollicking picaresque sagas.
    • 82 Metascore
    • 63 Keith Watson
    C'mon C'mon
    C’mon C’mon admirably doesn’t indulge in heartstring-tugging pathos, but the film suffers from a certain shapelessness.
    • 57 Metascore
    • 63 Keith Watson
    Flesh and Blood
    Mark Webber's stripped-down approach renders the messy, unglamorous lives at the film's center with dignity.
    • 76 Metascore
    • 63 Keith Watson
    Wonder Woman
    Wonder Woman is a strong, at times even rousing, application of the superhero film formula, but it ultimately can’t transcend the constraints of the genre.
    • 58 Metascore
    • 63 Keith Watson
    Happy Death Day
    Happy Death Day twists the inherent repetitiveness of slashers to its advantage by exaggerating it to an impossible degree.
    • 50 Metascore
    • 63 Keith Watson
    The Land
    Writer-director Steven Caple Jr.'s social-realist tendencies run up against some unconvincing genre elements.
    • 67 Metascore
    • 63 Keith Watson
    Other People
    The film is at its sharpest when Chris Kelly hands scenes over to his main character's family and friends.
    • 79 Metascore
    • 63 Keith Watson
    Funan
    There are hints that the film will scale itself to the broader historical context of this era, but the screenplay never elaborates on the ethnic strife the undergirds the Cambodian genocide.
    • 72 Metascore
    • 63 Keith Watson
    Burden
    The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
    • 65 Metascore
    • 63 Keith Watson
    The Autopsy of Jane Doe
    This is cinema’s most comprehensive look at the gruesome business of necropsy since Stan Brakhage's The Act of Seeing with One’s Own Eyes.
    • 55 Metascore
    • 63 Keith Watson
    Old
    In the moments when Old works, it’s because M. Night Shyamalan embraces the inherent weirdness of his material.
    • 55 Metascore
    • 63 Keith Watson
    Trolls
    Trolls is a flashy, pre-fab product, but the animators are given just enough space to create moments of genuine artistry.
    • 85 Metascore
    • 63 Keith Watson
    The Green Knight
    A methodical, if largely allegorical, exploration of its main character’s psyche, the film smooths out the enduring mysteries, opaque psychology, and narrative idiosyncrasies of its source material.
    • 57 Metascore
    • 63 Keith Watson
    Red Trees
    The banality of Marina Willer’s voiceover only goes to prove the old cliché that a picture is worth a thousand words.
    • 71 Metascore
    • 63 Keith Watson
    Little Fish
    The film gets at the profound truth that our relationship with another person is, at its core, a collection of shared memories.
    • 57 Metascore
    • 63 Keith Watson
    Uncle Drew
    Uncle Drew, the old-school streetballer played by NBA all-star Kyrie Irving, is a cheerfully scruffy creation, and so is the film that bears his name.
    • 66 Metascore
    • 63 Keith Watson
    The Way Back
    The film makes the path to basketball glory and the road to personal redemption seem oddly effortless.
    • 42 Metascore
    • 63 Keith Watson
    The Great Wall
    This is an often beautiful film, unmistakably the work of a great director but also a clearly compromised one.
    • 64 Metascore
    • 63 Keith Watson
    Ready or Not
    Only in its giddily gory finale does the outrageousness of the film's violence come close to matching that of its plot.
    • 68 Metascore
    • 63 Keith Watson
    American Animals
    As he showed in "The Imposter," writer-director Bart Layton knows how to spin a compelling yarn.
    • 74 Metascore
    • 63 Keith Watson
    Bad Luck Banging or Loony Porn
    After a while, it’s hard not to feel like Radu Jude is simply shooting fish in a barrel.
    • 58 Metascore
    • 63 Keith Watson
    Wheeler
    Ryan Ross's Wheeler is at its strongest as a showcase for Stephen Dorff’s husky, lived-in performance.
    • 61 Metascore
    • 63 Keith Watson
    Respect
    When Jennifer Hudson is singing her heart out, not so much approximating Aretha’s voice as channeling her soul, the effect is transportive.
    • 51 Metascore
    • 63 Keith Watson
    Peter Rabbit
    Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.
    • 33 Metascore
    • 63 Keith Watson
    Collide
    It's difficult to begrudge a film that has the good sense to put so much stock in Ben Kingsley's hammy theatrics.
    • tbd Metascore
    • 63 Keith Watson
    9 Fingers
    Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang's playful sense of humor.
    • 72 Metascore
    • 63 Keith Watson
    Dark Money
    Kimberly Reed's approach is too bloodless to make us feel the full weight of the injustices her film identifies.
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