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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    • 70 Metascore
    • 75 Keith Watson
    Bugs
    It begins as a gleeful deadpan comedy and ends up as an exasperated cri de cœur against our current system of industrialized food production and distribution.
    • 55 Metascore
    • 38 Keith Watson
    The LEGO Ninjago Movie
    The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store.
    • 80 Metascore
    • 50 Keith Watson
    The Force
    Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject.
    • 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.
    • 80 Metascore
    • 63 Keith Watson
    Trophy
    It goes a long way toward complicating our moral assumptions about trophy hunting, as well as a host of other wildlife issues, including conservation, poaching, rhino farms, and the proper balance between man and nature.
    • 48 Metascore
    • 50 Keith Watson
    Leap!
    The film’s careful attention to detail in the animation is continuously undermined by a formulaic plot and anxious pandering to contemporary sensibilities.
    • 47 Metascore
    • 38 Keith Watson
    What Happened to Monday
    Tommy Wirkola’s film squanders an evocative premise in favor of rote gun-fu carnage.
    • 46 Metascore
    • 38 Keith Watson
    The Queen of Spain
    Fernando Trueba fails to probe the political implications of The Queen of Spain's period milieu, which is particularly confounding given the filmmaker’s evident anti-fascist sympathies.
    • 36 Metascore
    • 38 Keith Watson
    The Nut Job 2: Nutty by Nature
    Though it may clear the low bar set by the first film, The Nut Job 2 still suffers from many of the same problems.
    • 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.
    • 81 Metascore
    • 50 Keith Watson
    Step
    By fitting Cori, Tayla, and Blessin's lives into a predetermined narrative arc, Step reduces the girls to plucky, up-by-the-bootstraps archetypes.
    • 64 Metascore
    • 50 Keith Watson
    I Dream in Another Language
    Just as the director seems to be settling in to tackle some heady ideas, the screenplay’s stale narrative complications instead overtake the film.
    • 39 Metascore
    • 38 Keith Watson
    First Kill
    Lacking any vibrancy, wit, or formal rigor, First Kill is not only as bland and leaden as its über-generic title suggests, it's downright sloppy to boot.
    • 72 Metascore
    • 88 Keith Watson
    The Untamed
    Each brief glimpse of the creature’s fleshy, slithering mass imbues the character drama with an aching sexual desire and, as the violent potential of the entity becomes clear, a mounting sense of dread.
    • 49 Metascore
    • 50 Keith Watson
    The Persian Connection
    Daniel Y-Li Grove adeptly creates an icy, über-hip atmosphere of sleek clubs, pulsating synths, and woozy opium trips, a style which has the unfortunate effect of draining much of the cultural specificity from his story.
    • 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.
    • 73 Metascore
    • 63 Keith Watson
    Spider-Man: Homecoming
    By partially demonstrating what a newer, fresher superhero movie might look like, Homecoming ultimately underlines its own genre-defined limitations.
    • 49 Metascore
    • 63 Keith Watson
    Despicable Me 3
    If all this wackiness is only occasionally laugh-out-loud funny—the ‘80s references feel particularly played out—it’s nonetheless executed with good-natured breeziness.
    • 31 Metascore
    • 25 Keith Watson
    The Book of Henry
    Schmaltzy, manipulative, and tonally schizophrenic, The Book of Henry is such a monumentally misguided venture that it ends up being oddly, if unintentionally, compelling.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Keith Watson
    The Hero
    Sam Elliott’s calmly affecting performance is overwhelmed by a doggedly conventional screenplay that often plays like end-of-life wish-fulfillment fantasy.
    • 69 Metascore
    • 75 Keith Watson
    Captain Underpants: The First Epic Movie
    The film is packed with mirthful pranksterism, a vigorous anti-authoritarian streak, and literal potty humor.
    • 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.
    • 67 Metascore
    • 63 Keith Watson
    Buena Vista Social Club: Adios
    Adios may deepen our understanding of these musicians and their world, but it never quite stands on its own.
    • 37 Metascore
    • 50 Keith Watson
    Baywatch
    In terms of body objectification, Baywatch is an equal-opportunity exploiter, but when it comes to comedy, it's a total boys' club.
    • 71 Metascore
    • 75 Keith Watson
    Paint It Black
    It combines the brooding intensity of a slow-burn thriller with the high-flown ornamentation of a gothic melodrama.
    • 39 Metascore
    • 38 Keith Watson
    Diary of a Wimpy Kid: The Long Haul
    The film's problem isn't so much the grossness of its humor as the laziness with which it's executed.
    • 45 Metascore
    • 50 Keith Watson
    Snatched
    The mother-daughter relationship ostensibly at the film’s heart is largely reduced to tired jokes about how moms can be overprotective and don’t understand how to use Facebook.
    • 56 Metascore
    • 50 Keith Watson
    Take Me
    Schilling and Healy never quite overcome the fact that Take Me is a suspense comedy that simply isn't very suspenseful or very funny and, just as importantly, never finds a thematic through line.
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