Keith Uhlich

Keith Uhlich (All (Parentheses)) (Substack) Oct 31, 2026 The transcendental places the film goes to recall the dual apocalypses of Hideaki Anno’s Evangelion series (both the TV show and movie endings) if they were done in a more gentle register. Go to Full Review A Day in the Life of Jo: Chapter Phaedra (2026) - - - -

Keith Uhlich (All (Parentheses)) (Substack) Oct 1, 2026 This gently tragic tale of French students on a school-trip-abroad to Pompeii has the feel of an obsessively worked-over assignment by the class goody-two-shoes. Top grades assured, less teacher loses tenure-track. Go to Full Review La Gradiva (2026) 93% - -

Keith Uhlich (All (Parentheses)) (Substack) Oct 1, 2026 I never believed a second of it, and a big part of the problem is Hüller’s performance, which treads a consistently clichéd divide between the Arthouse Opaque (dead-eyed stares-into-the-void being prevalent) and the Awards-Baity Overwrought. Go to Full Review Rose (2026) 97% - -

Keith Uhlich Slant Magazine Sep 29, 2026 .5/4 The film is Alejandro González Iñárritu’s purported cri de coeur against our wealth-and-resources-hoovering overlords, but somehow it still manages to be a shameless Tom Cruise ego stroke. Go to Full Review Digger (2026) 52% - -

Keith Uhlich Slant Magazine Sep 24, 2026 3.5/4 The elemental bleakness of Hamaguchi Ryusuke’s Evil Does Not Exist shifts to a more cosmic benevolence in All of a Sudden. Go to Full Review All of a Sudden (2026) 92% - -

Keith Uhlich Slant Magazine Sep 22, 2026 3/4 The film is a slow-burn family tragedy in which ephemeral comforts run aground on reality. Go to Full Review Paper Tiger (2026) 86% - -

Keith Uhlich Slant Magazine Sep 6, 2026 1.5/4 It’s all mightily accomplished and fun...until the antagonists reveal themselves. Go to Full Review Hope (2026) 80% - -

Keith Uhlich Time Out Sep 2, 2026 2/5 All narrative tension buckles under the weight of [Cruise's] smugly one-dimensional performance, something counteracted only by the rousing hamminess of Werner Herzog, as a semideformed, way-underground gangster called the Zec. Go to Full Review Jack Reacher (2012) 64% 67%

Keith Uhlich (All (Parentheses)) (Substack) Aug 18, 2026 3/5 The drama is pure boilerplate. Fortunately, there are a good number of Donnie Yen-choreographed action scenes to break up the monotony. Go to Full Review Dragon (2011) - - 82%

Keith Uhlich (All (Parentheses)) (Substack) Aug 11, 2026 It’s its own thing, stem to stern, and gloriously so — a summative work by a genuine artist that rewired my every sense and synapse. Go to Full Review A. Rimbaud (2026) - - - -

Keith Uhlich Slant Magazine Jul 22, 2026 3.5/4 There’s still something intoxicatingly emotional, and uniquely Refn, about the film, possessed as it is of a sublime tenderness that’s willfully, and perversely, obscured under colorful mounds of glamour and grime. Go to Full Review Her Private Hell (2026) 40% - -

Keith Uhlich (All (Parentheses)) (Substack) Jul 16, 2026 It’s The Ten Commandments if it was Memento, and dizzying in a good way because means and method brilliantly cohere. Go to Full Review The Odyssey (2026) 94% - -

Keith Uhlich Time Out Jul 9, 2026 1/5 The film point[s] a fanatically accusatory finger at teachers’ unions while using twisted Obama-esque sloganeering about "order" and "hope" to further its simplistically anticollectivist agenda. Go to Full Review Won't Back Down (2012) 35% 61%

Keith Uhlich Time Out Jun 18, 2026 4/5 A cut above most nonfiction explorations of [Hurricane] Katrina, thanks to the ever-empathetic Demme’s talent for showcasing the uniquely human qualities of every person he films. Go to Full Review I'm Carolyn Parker: The Good, the Mad, and the Beautiful (2011) - - - -

Keith Uhlich (All (Parentheses)) (Substack) Jun 12, 2026 Disclosure Day is constructed as a cascading series of narrative and thematic rhymes — opposites constantly, expansively repelling and attracting. Go to Full Review Disclosure Day (2026) 79% - -

Keith Uhlich (All (Parentheses)) (Substack) Jun 2, 2026 A hearty feast of sentient dust bunnies collated within and self-assuredly loosed from Parsons’s savantish psyche; hilarious that Osgood Perkins was among his "mentors" when student has so bullishly shown-up sensei. Go to Full Review Backrooms (2026) 85% - -

Keith Uhlich (All (Parentheses)) (Substack) Jun 2, 2026 An unrepentant troll — essentially Ari Aster’s Oleanna with the battle of the sexes sympathetically slanted, as it was in Mamet’s troglodytic conversation piece, toward an odious beta misogynist. Go to Full Review Obsession (2025) 93% - -

Keith Uhlich Time Out May 19, 2026 3/5 Manages to cast enough of an enchanting spell. Go to Full Review The Magic of Belle Isle (2012) 33% 63%

Keith Uhlich Time Out May 12, 2026 There’s so much that’s right about the film: the Altman-like hustle and bustle of its party scenes, … the most pathos-infused use of "Video Killed the Radio Star" ever. Yet Polley’s dialogue is often unbearably clumsy. Go to Full Review Take This Waltz (2011) 79% 58%

Keith Uhlich (All (Parentheses)) (Substack) May 11, 2026 Four score and seven years a-whoa! Go to Full Review Abraham Lincoln: Vampire Hunter (2012) 34% 50%