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(All (Parentheses)) (Substack)

(All (Parentheses)) (Substack) is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Keith Uhlich.

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Rating Title | Year Author Quote
Mercy (2026) Keith Uhlich Is this movie more interesting than a YouTube recording of Chris Pratt extolling RFK Jr. on Club Random with Bill Maher?
Posted Jan 24, 2026  Edit critic review
Dust Bunny (2025) Keith Uhlich Dust Bunny thrives for a good while on Fuller’s fertile imagination, which here asks "What if Leon: The Professional but with a ravenous oversized leporid?
Posted Jan 24, 2026  Edit critic review
Return to Silent Hill (2026) Keith Uhlich Has a digi-augmented chintziness on the one hand. On the other, the thought "Lady and the Duke-era Eric Rohmer doing Hellraiser" came frequently to mind.
Posted Jan 24, 2026  Edit critic review
Cover-Up (2025) Keith Uhlich When it comes to the darker shades of Hersh's personality and pursuits, Poitras and Obenhaus tend to pull a Homer Simpson-style hedge retreat rather than probe deeper into the behavioral and psychological verdure.
Posted Jan 18, 2026  Edit critic review
28 Years Later: The Bone Temple (2026) Keith Uhlich I’ve been singing O’Connell’s praises in The North Water (2021) for years now and will just redirect readers there for an example of what he can do when he’s not being asked to madcaply, monotonously gambol like a lep’ in tha hood/come to do no good.
Posted Jan 18, 2026  Edit critic review
The Testament of Ann Lee (2025) Keith Uhlich I never miss a Shaker musical!
Posted Jan 10, 2026  Edit critic review
The Housemaid (2025) Keith Uhlich It’s Feig attempting Park Chan-wook’s Gone Girl and…yeah, I’m good, m’guy.
Posted Jan 10, 2026  Edit critic review
5/5
The Long Day Closes (1992) Keith Uhlich Everything proceeds with a dreamy allusiveness that’s the product of a consciousness simultaneously recollecting and enduring these events.
Posted Oct 31, 2025  Edit critic review
5/5
The Kid With a Bike (2011) Keith Uhlich Like much of the Dardennes’ output, The Kid with a Bike doubles as both an engrossingly perceptive human drama and a powerful religious parable.
Posted Oct 27, 2025  Edit critic review
Blue Moon (2025) Keith Uhlich Engenders a robust longing for a blackout stupor.
Posted Oct 26, 2025  Edit critic review
Highest 2 Lowest (2025) Keith Uhlich Is this Spike exercising Schumerian/Jefferiesian finger-wag (the doleful cinema of the strongly worded letter) or sending up same? Six, one. Half-dozen, other. Knicks game at 7!
Posted Aug 08, 2025  Edit critic review
The Naked Gun (2025) Keith Uhlich The modern cops-’n’-revengers aesthetics being lampooned are already more than a little self-aware of their absurdity, where the disaster flicks and TV policiers that inspired Zuck-Abes-Zuck proved perfect templates for fully ripened parody.
Posted Aug 01, 2025  Edit critic review
5/5
The Gold Rush (1925) Keith Uhlich This greatest of silent comedies could be subtitled “Hunger” — not just for a decent meal, but for financial stability, for the love of a good woman and for a house that isn’t perched precariously on the edge of a cliff.
Posted Mar 31, 2025  Edit critic review
Here (2024) Keith Uhlich Some vindication felt after I previously compared Zemeckis’ bizarro Pinocchio redo to De Oliveira and now he’s gone and riffed on Rohmer’s Lady and the Duke. With a soupçon, come computer-generated finale, of digi-Sirk. (Let the blown mind emojis flow!)
Posted Nov 01, 2024  Edit critic review
The Room Next Door (2024) Keith Uhlich Almodóvar maintains Sigrid Nunez’s blithe, gently bitchy discursiveness while putting his own gloriously gay stamp on it.
Posted Oct 25, 2024  Edit critic review
Nickel Boys (2024) Keith Uhlich Nickel Boys is in constant dialogue with itself, as well as in enduring search of moments that feel caught, even as they’re inevitably preconceived.
Posted Oct 16, 2024  Edit critic review
The Brutalist (2024) Keith Uhlich Hardly a loving riff on Citizen Kane or The Godfather, it’s more accurately Buffalo Bill parading the flayed skin of Elia Kazan’s America America.
Posted Sep 24, 2024  Edit critic review
Return of the Secaucus 7 (1980) Keith Uhlich This state-of-the-(dis)union character drama proves ultimately gentle where Sayles’s grindhouse projects go thematically and aesthetically blunt.
Posted Feb 08, 2024  Edit critic review
Foe (2023) Keith Uhlich I liked the part where clone Paul Mescal gets shrink-wrapped.
Posted Oct 27, 2023  Edit critic review
Poor Things (2023) Keith Uhlich Tim Burton directs a Marxist-feminist screensaver.
Posted Oct 27, 2023  Edit critic review
Strange Way of Life (2023) Keith Uhlich Primo dom bottom energy from both Pedros.
Posted Oct 27, 2023  Edit critic review
Anatomy of a Fall (2023) Keith Uhlich A clear and clean Palme d’Or winner, every ambiguity and “unexpected” choice so carefully thought-through that awards can’t help but be thrown at it.
Posted Oct 27, 2023  Edit critic review
Priscilla (2023) Keith Uhlich A mixed bag, a Marie Antoinette without the sick-inducing binge-’n’-purge political import.
Posted Oct 27, 2023  Edit critic review
Maestro (2023) Keith Uhlich Sad elder-gay Lenny letting loose to Tears for Fears a pleasurable respite amid all the officially sanctioned bio-dreck.
Posted Oct 27, 2023  Edit critic review
Hit Man (2023) Keith Uhlich It’s as if Linklater is playing posthumous wingman for his subject, giving him the rom-com-slick Hollywood ending he never got in life.
Posted Oct 27, 2023  Edit critic review
The Zone of Interest (2023) Keith Uhlich The result is depraved in its way, at once a po-faced drama of ignorant domestic bliss and a dryly details-oriented workplace sitcom from Hell, a Kubrick/Tarkovsky acolyte fusing The Boy in the Striped Pyjamas with Heil Honey I’m Home!
Posted Sep 25, 2023  Edit critic review
Perfect Days (2023) Keith Uhlich Jeanne Dielman without the shocks to the system; Wenders’ own Paris, Texas without the emotional-topographical spine of Sam Shepard’s script and Harry Dean Stanton’s sensational lead performance.
Posted Sep 08, 2023  Edit critic review
Indiana Jones and the Dial of Destiny (2023) Keith Uhlich That Ford is the one who seems most engaged here is perhaps the biggest surprise, given how gruffly above-it-all he can be onscreen when disinterested. His affection for Indiana Jones can’t be bought, even though he was.
Posted Jun 15, 2023  Edit critic review
Little Murders (1971) Keith Uhlich In Little Murders, art — itself included — provides no sufficient response to chaos and barbarity. [Guest post by Michael Joshua Rowin]
Posted Feb 27, 2023  Edit critic review
Infinity Pool (2023) Keith Uhlich True to its title, Infinity Pool ebbs to a non-point
Posted Jan 25, 2023  Edit critic review
The Day of the Jackal (1973) Keith Uhlich Possesses a tonal coldness that aligns viewers with the assassin’s reptilian machinations. —Guest post by Michael Joshua Rowin
Posted Dec 20, 2022  Edit critic review
Pinocchio (2022) Keith Uhlich Think of this Pinocchio, at its best, as Zemeckis’s conglomerate-backed cultural critique, a nauseated state of the artistic union typified by a scene in which our little timber-carved innocent quizzically contemplates a steaming pile of horse dung.
Posted Sep 08, 2022  Edit critic review
Pierrot le Fou (1965) Keith Uhlich Represents a high watermark of the art film, and in no small measure due to its despair over the artist’s ambivalent, uncertain role in an era of aesthetic, technological, and political turmoil. —Guest Post by Michael Joshua Rowin
Posted Sep 06, 2022  Edit critic review
Nope (2022) Keith Uhlich There was one horrible moment when I thought the film was going to reveal itself as a stealth Cloverfield installment. Thank heaven for small favors.
Posted Jul 20, 2022  Edit critic review
Young Man With a Horn (1950) Keith Uhlich Rick Martin's (Kirk Douglas) longing for artistic transcendence is melodramatically depicted as wholly other to the desires of the audience.—Guest post by Michael Joshua Rowin
Posted Jul 19, 2022  Edit critic review
Ikiru (1952) Keith Uhlich Kurosawa’s masterpiece endures, still finding new ways to scare me and speak to me after all this time. —Guest post by Kenji Fujishima
Posted Jun 10, 2022  Edit critic review
Rope (1948) Keith Uhlich Hitchcock examines his and his audience’s participatory roles in a centuries-old circuit of art production and reception. —Guest post by Michael Joshua Rowin
Posted Jun 10, 2022  Edit critic review
The Square (2017) Keith Uhlich The Square foregrounds a dilemma at the core of artistic practice: as moving and influential as it can be, art too often exists in a realm separated from “real life,” cordoned off as safely “consumable” entertainment. —Guest post by Michael Joshua Rowin
Posted Jun 10, 2022  Edit critic review
Top Gun: Maverick (2022) Keith Uhlich 'Maverick' is an absurdity masking several horrors, chief among them the continued indulgence of Cruise’s virile death wish, which for me nullifies any pleasure reaped from his present-day status as The Last Movie Star™.
Posted May 19, 2022  Edit critic review
The Batman (2022) Keith Uhlich The film I imagine Ricky Fitts would grow up to make after the events of 'American Beauty.'
Posted Mar 24, 2022  Edit critic review
Deception (2021) Keith Uhlich Many have tried, and most have failed, at successfully translating Philip Roth from page to screen. Arnaud Desplechin makes it work.
Posted Mar 24, 2022  Edit critic review
After Yang (2021) Keith Uhlich Much too 'Instagram Stories: The Motion Picture' for my taste.
Posted Mar 24, 2022  Edit critic review
Kimi (2022) Keith Uhlich Soderbergh’s artistry is, at this point, all compulsion. His restless need to create is perfect, business-wise, for the age of “content,” less so if one hopes for more.
Posted Mar 04, 2022  Edit critic review
Il buco (2021) Keith Uhlich A superb meld of sound, image and ruminative essence.
Posted Nov 16, 2021  Edit critic review
What Do We See When We Look at the Sky? (2021) Keith Uhlich There's an overall wobbliness to most of the meanderings, as if Koberidze is too besotted with the conceptual possibilities of his digressions, and so fails to hone them into something truly special.
Posted Nov 16, 2021  Edit critic review
The Tsugua Diaries (2021) Keith Uhlich The kind of irritating movie-about-moviemaking comprised more of artistic referents than lived experience.
Posted Nov 16, 2021  Edit critic review
Benedetta (2021) Keith Uhlich Shart is sexy.
Posted Nov 16, 2021  Edit critic review
Bergman Island (2021) Keith Uhlich That the film manages to attain vast levels of emotional resonance speaks to Hansen-Løve's talent for mining her characters' quiet lives for all they're worth.
Posted Nov 16, 2021  Edit critic review
Titane (2021) Keith Uhlich The film's provocations rarely rise to the schoolyard-japing level of Ken Russell. (Tom Six's derriere-devouring oeuvre is more this shameless movie's speed.)
Posted Nov 16, 2021  Edit critic review
Old (2021) Keith Uhlich In macro, the film explores pandemic-era anxieties about the corporate entities that hold life-or-death sway over society, but it's on the micro level that I found myself moved.
Posted Aug 03, 2021  Edit critic review
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