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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    • 37 Metascore
    • 38 Keith Watson
    Red Notice
    A constant sense of motion can’t obscure how stale, secondhand, and spiritless this entire endeavor feels.
    • 68 Metascore
    • 50 Keith Watson
    Lamb
    Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
    • 83 Metascore
    • 75 Keith Watson
    Prayers for the Stolen
    There’s a haunting beauty to Tatiana Huezo’s depiction of the gradual cross-contamination of childhood innocence and criminal aggression.
    • 91 Metascore
    • 63 Keith Watson
    Flee
    The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself.
    • 78 Metascore
    • 63 Keith Watson
    Il Buco
    The film meticulously evokes a 1961 speleological expedition, but its search for thematic resonance is frustratingly general.
    • 34 Metascore
    • 25 Keith Watson
    Yakuza Princess
    This grimly self-serious tale of violent destiny is consistently drowned out by Vicente Amorim’s overreaching visual style.
    • 72 Metascore
    • 75 Keith Watson
    Candyman
    Candyman doesn’t merely note the connection between fear and remembrance, it also interrogates it from every possible angle.
    • 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.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Keith Watson
    The Conjuring: The Devil Made Me Do It
    The film apes the style that James Wan established with the original Conjuring without establishing any real identity of its own.
    • 77 Metascore
    • 50 Keith Watson
    Apples
    The film's rendering of the interplay of memory, identity, and grief is disappointingly vague.
    • 76 Metascore
    • 88 Keith Watson
    El Planeta
    Amalia Ulman’s film is a bittersweet comedy of human behavior observed with a relaxed yet intently focused eye.
    • 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.
    • 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.
    • 69 Metascore
    • 75 Keith Watson
    The Vigil
    Keith Thomas’s film hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth.
    • 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.
    • 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.
    • 56 Metascore
    • 63 Keith Watson
    The Croods: A New Age
    The film is brightly colored, inventively designed, and constantly flirting with the outright psychedelic, but it's so packed full of incident that it rarely gives its jokes the space to land.
    • 68 Metascore
    • 63 Keith Watson
    Borat Subsequent Moviefilm
    Too often, the film teases big, wild comedic set pieces that end up deflating almost instantly.
    • 89 Metascore
    • 75 Keith Watson
    Dick Johnson Is Dead
    Dick Johnson Is Dead is very much a film about its own making, one which repeatedly exposes its artifice.
    • 89 Metascore
    • 63 Keith Watson
    Gunda
    By the time the credits roll on the film, we realize we’ve been watching not so much a sketch of the lives of farm animals as a threnody for their deaths.
    • 91 Metascore
    • 75 Keith Watson
    Ghost Tropic
    Bas Devos’s film is a street-lit trek through the eerily empty avenues and byways of a city at sleep.
    • 58 Metascore
    • 38 Keith Watson
    The High Note
    Everything here wraps up as tidily as it does in your average Hallmark Channel movie.
    • tbd Metascore
    • 88 Keith Watson
    Days of Cannibalism
    The film ultimately depicts a world in which people are left with no other option but to devour their own.
    • 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.
    • 49 Metascore
    • 50 Keith Watson
    Downhill
    Downhill never makes much of an impact as it moves from one mildly amusing cringe-comedy set piece to the next.
    • 69 Metascore
    • 50 Keith Watson
    The Times of Bill Cunningham
    The film undermines Cunningham’s egalitarianism by linking him directly with the kind of elite snobbery and wealth fixation he abhorred.
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