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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    • 65 Metascore
    • 38 Keith Watson
    The Courier
    Dominic Cooke’s film is content to regurgitate some of the more tired artistic tropes about the Cold War.
    • 65 Metascore
    • 50 Keith Watson
    The Black Phone
    Scott Derrickson and C. Robert Cargill are adept enough at setting up rich, evocative horror concepts, but they don’t always know what to do with them once they’re in place.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Keith Watson
    The Villainess
    When one finally puts together the pieces of the film’s scattered narrative puzzle, The Villainess doesn’t add up to all that much beyond a slick march toward an act of bloody revenge.
    • 64 Metascore
    • 75 Keith Watson
    Never-Ending Man: Hayao Miyazaki
    Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
    • 64 Metascore
    • 50 Keith Watson
    Mifune: The Last Samurai
    In many ways, Toshirô Mifune the man remains just as mysterious after watching Steven Okazaki's film as he was before.
    • 63 Metascore
    • 63 Keith Watson
    My Cousin Rachel
    After a while, the enigmatic nature of Rachel Weisz's character starts to feel less like an enticing mystery than a narrative trick.
    • 63 Metascore
    • 50 Keith Watson
    Before the Flood
    The documentary's focus on elite solutionism effectively erases the role of popular agitation in formulating social change.
    • 63 Metascore
    • 38 Keith Watson
    Villains
    Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
    • 63 Metascore
    • 50 Keith Watson
    Triangle of Sadness
    Writer-director Ruben Östlund’s pessimism ultimately leads the film toward a self-negating dead end.
    • 62 Metascore
    • 50 Keith Watson
    11/8/16
    Too often, the documentary’s highly calibrated curation reduces its subjects to mere demographic representations.
    • 51 Metascore
    • 38 Keith Watson
    Dumbo
    Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
    • 62 Metascore
    • 75 Keith Watson
    Annabelle: Creation
    Like Lights out, David F. Sandberg's previous film, Annabelle: Creation is a haunted-house horror story that plays on our primeval fear of the dark.
    • 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.
    • 61 Metascore
    • 63 Keith Watson
    The Quest of Alain Ducasse
    The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef's uniquely obsessive work habits.
    • 60 Metascore
    • 63 Keith Watson
    Footnotes
    The ending cheapens its main character and weakens the film's firm commitment to the importance of workplace organizing.
    • 60 Metascore
    • 50 Keith Watson
    Lightyear
    The film is a slickly produced but soulless spectacle whose jokey banter and space-opera action drowns out the story’s emotional beats.
    • 60 Metascore
    • 38 Keith Watson
    Gifted
    The grace notes are crowded out by the screenplay’s plot machinations and emotional manipulations.
    • 59 Metascore
    • 38 Keith Watson
    The Boy Downstairs
    Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.
    • 59 Metascore
    • 50 Keith Watson
    Cars 3
    Cars 3 doesn't seem to care about defining the contours of its universe or exploring the possibilities of an all-car world.
    • 59 Metascore
    • 50 Keith Watson
    In Darkness
    Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.
    • 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.
    • 58 Metascore
    • 25 Keith Watson
    The Midnight Sky
    The film minimizes the tragedy of the human race’s near-complete annihilation by positioning it as the backdrop for the world’s most grandiose deadbeat-dad redemption arc.
    • 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.
    • 58 Metascore
    • 38 Keith Watson
    The High Note
    Everything here wraps up as tidily as it does in your average Hallmark Channel movie.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Keith Watson
    Galveston
    The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
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