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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    • 74 Metascore
    • 50 Keith Watson
    Like Crazy
    Restless, at times even chaotic, the film often seems to be replicating the experience of having a manic episode.
    • 72 Metascore
    • 63 Keith Watson
    Burden
    The film dispenses with sensationalism, engaging with Chris Burden's most notorious work on its own terms.
    • 72 Metascore
    • 75 Keith Watson
    One Week and a Day
    The film is a comedy that depicts the difficult period of transition from mourning back into normal life.
    • 60 Metascore
    • 38 Keith Watson
    Gifted
    The grace notes are crowded out by the screenplay’s plot machinations and emotional manipulations.
    • 40 Metascore
    • 38 Keith Watson
    Smurfs: The Lost Village
    It's content to be the sort of film parents can throw on an iPad to ensure 90 minutes' worth of relative peace and quiet away from their antic children.
    • 54 Metascore
    • 38 Keith Watson
    Cézanne et Moi
    The film barely even scratches the surface of the animating force of Cézanne and Zola's lives: their art.
    • 44 Metascore
    • 38 Keith Watson
    Saban's Power Rangers
    Power Rangers is so concerned with launching a mature teen-targeted franchise that it often forgets to have some fun.
    • 80 Metascore
    • 63 Keith Watson
    The Wound
    Though the film settles into a familiar coming-of-age trajectory, it's always enlivened by John Trengove's intimate, inquiring eye.
    • 26 Metascore
    • 25 Keith Watson
    The Ottoman Lieutenant
    More conspicuous than its rote melodrama is the way the film elides the concurrent genocide of ethnic Armenians by Ottoman forces.
    • 66 Metascore
    • 50 Keith Watson
    Catfight
    Onur Tukel attempts to connect Ashley and Veronica’s barbarity to the broader callousness of American life, but the satire is too blunt to really stick.
    • 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.
    • 85 Metascore
    • 75 Keith Watson
    Get Out
    Throughout Get Out, Jordan Peele incisively probes the connection between liberal racism and good old-fashioned white supremacy.
    • 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.
    • 37 Metascore
    • 38 Keith Watson
    Fist Fight
    Over-stuffed and under-conceived, Fist Fight is a clumsy mélange of clashing comedic perspectives.
    • 78 Metascore
    • 63 Keith Watson
    Kedi
    Ceyda Torun’s Kedi is an open, tender-hearted meditation on the relationship between felines and humans.
    • 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.
    • 43 Metascore
    • 12 Keith Watson
    A Dog's Purpose
    Lasse Hallström's gooey film exists only to offer comforting reassurances about dogs' natural servility.
    • 28 Metascore
    • 50 Keith Watson
    The Crash
    The film may be too preposterous to take seriously, but at least writer-director Aram Rappaport trains his sights on the right enemies.
    • 52 Metascore
    • 25 Keith Watson
    Alone in Berlin
    The film attempts a tone of tragic understatement that registers instead as flat, plodding, and underfelt.
    • 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.
    • 74 Metascore
    • 63 Keith Watson
    Harry Benson: Shoot First
    While it offers ample opportunity to admire Benson's body of work, it provides few aesthetic delights of its own.
    • 48 Metascore
    • 38 Keith Watson
    Pet
    The screenplay quickly loses this moral clarity as the plot twists pile up and the power balances shift.
    • 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.
    • 24 Metascore
    • 25 Keith Watson
    Life on the Line
    For a film about such a singular profession, Life on the Line offers surprisingly little insight into linemen's day-to-day labor.
    • 48 Metascore
    • 50 Keith Watson
    The Take
    For a film so interested in the public's malleability, The Take isn't particularly good at controlling its own audience.
    • 55 Metascore
    • 50 Keith Watson
    Almost Christmas
    The film is most affecting in its simpler moments, particularly those revolving around food.
    • 25 Metascore
    • 50 Keith Watson
    My Dead Boyfriend
    Slacker that it is, the film never seems willing to put in the necessary work to live up to its potential.
    • 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.
    • 28 Metascore
    • 12 Keith Watson
    The Unspoken
    It feels like Sheldon Wilson tossed a bunch of third-hand scares in a blender and set it to puree, resulting in a gray, flavorless sludge.
    • 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.
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