Keith Watson Movie Reviews & Previews - Rotten Tomatoes

Keith Watson

Keith Watson
Keith Watson's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
2/4 69% Galveston (2018) The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes. ‐ Slant Magazine
Read More | Posted Oct 15, 2018
3/4 98% The Guilty (Den skyldige) (2018) The Guilty is a taut chamber thriller dominated by the flinty yet highly emotive visage of actor Jakob Cedergren.‐ Slant Magazine
Read More | Posted Oct 14, 2018
2/4 96% The Hate U Give (2018) The film lays out the complexities of contemporary race relations with a deliberateness that frequently edges over into didacticism.‐ Slant Magazine
Read More | Posted Sep 29, 2018
1/4 49% The Spy Who Dumped Me (2018) There's an appealingly shaggy buddy comedy hidden somewhere inside of The Spy Who Dumped Me, but good luck finding it amid all the desperate poop jokes, lifeless action sequences, and lazy plot mechanics. ‐ Slant Magazine
Read More | Posted Jul 31, 2018
3/4 91% Teen Titans Go! To the Movies (2018) Peter Rida Michail and Aaron Horvath's Teen Titans Go! To the Movies is a spastic, Mad magazine-style parody of comic-book movies for the age of superhero overload.‐ Slant Magazine
Read More | Posted Jul 25, 2018
1.5/4 83% Path of Blood (2018) The film in effect positions young jihadis less as fervid, bloodthirsty psychopaths and more as dumb kids at summer camp.‐ Slant Magazine
Read More | Posted Jul 8, 2018
2.5/4 94% Dark Money (2018) Kimberly Reed's approach is too bloodless to make us feel the full weight of the injustices her film identifies.‐ Slant Magazine
Read More | Posted Jul 8, 2018
2.5/4 63% Uncle Drew (2018) Uncle Drew, the old-school streetballer played by NBA all-star Kyrie Irving, is a cheerfully scruffy creation, and so is the film that bears his name. ‐ Slant Magazine
Read More | Posted Jun 27, 2018
2.5/4 79% Dark River (2018) While Clio Barnard so masterfully limns her protagonist's tortured soul, the brother-sister drama at the center of the film remains frustratingly hazy.‐ Slant Magazine
Read More | Posted Jun 25, 2018
1.5/4 52% Boundaries (2018) Christopher Plummer brings a twinkly eyed insouciance to his character, but there's only so many times Jack can make a joke about, say, his adult diapers before it becomes thin and hollow. ‐ Slant Magazine
Read More | Posted Jun 17, 2018
2.5/4 94% Incredibles 2 (2018) Everything in Incredibles 2 is inexorably driven toward a big final blowout. That sequence is suitably grand and eye-popping, but haven't we seen all of this before?‐ Slant Magazine
Read More | Posted Jun 13, 2018
1.5/4 49% Superfly (2018) SuperFly is a slicked-up, tricked-out revamp that dispenses with any pretense of verisimilitude in favor of rap-video extravagance and mob-movie bloodshed.‐ Slant Magazine
Read More | Posted Jun 13, 2018
2.5/4 69% The Quest of Alain Ducasse (La Quête d'Alain Ducasse) (2018) The documentary provides little sense of intimacy with its subject, but it gives an in-depth look at the master chef's uniquely obsessive work habits.‐ Slant Magazine
Read More | Posted Jun 3, 2018
3/4 71% Adrift (2018) A simple, acutely observed love story that also happens to be a rousingly stripped-down tale of survival.‐ Slant Magazine
Read More | Posted Jun 1, 2018
2.5/4 89% American Animals (2018) As he showed in The Imposter, writer-director Bart Layton knows how to spin a compelling yarn.‐ Slant Magazine
Read More | Posted May 29, 2018
2/4 42% In Darkness (2018) Anthony Bryne's high-flown style only serves to highlight the film's icky way of exploiting real-world tragedy for kicks.‐ Slant Magazine
Read More | Posted May 20, 2018
2/4 53% Book Club (2018) It's been said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman's Book Club.‐ Slant Magazine
Read More | Posted May 16, 2018
1/4 27% Breaking In (2018) James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name. ‐ Slant Magazine
Read More | Posted May 10, 2018
3/4 94% The Guardians (Les Gardiennes) (2018) The film captures the pictorial beauty of old-fashioned farm life, but director Xavier Beauvois is careful not to romanticize hard labor for its own sake.‐ Slant Magazine
Read More | Posted Apr 30, 2018
1.5/4 94% RBG (2018) The film rarely presents a clear analysis of Ruth Bader Ginsburg's victories, reducing her work to empty slogans.‐ Slant Magazine
Read More | Posted Apr 30, 2018
1.5/4 32% Super Troopers 2 (2018) Given the sheer amount of comic material here, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low. ‐ Slant Magazine
Read More | Posted Apr 18, 2018
2.5/4 60% Nana (2018) The film flattens Maryla's personal story into hazy generalities about tolerance and the value of remembrance.‐ Slant Magazine
Read More | Posted Apr 9, 2018
1.5/4 37% An Ordinary Man (2018) Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.‐ Slant Magazine
Read More | Posted Apr 9, 2018
2/4 83% Blockers (2018) Viswanathan, Newton, and Adlon generate a bit of chemistry throughout, but it's undermined by the fundamentally mechanistic nature of Brian and Jim Kehoe's screenplay.‐ Slant Magazine
Read More | Posted Apr 2, 2018
3/4 77% Cocote (2018) Nelson Carlo de Los Santos's first fiction feature is a dazzling collage of styles and approaches in which every scene feels different from the one that came before.‐ Slant Magazine
Read More | Posted Mar 27, 2018
3/4 95% Outside In (2018) Lynn Shelton's film firmly resists supplying its main characters with easy, you-can-have-it-all answers. ‐ Slant Magazine
Read More | Posted Mar 25, 2018
1/4 27% Sherlock Gnomes (2018) Arthur Conan Doyle's legendary characters feel as if they've been air-dropped into a universe where they don't belong.‐ Slant Magazine
Read More | Posted Mar 23, 2018
2.5/4 93% Journey's End (2018) Director Saul Dibb has infused his adaptation of R.C. Sherriff's play with a striking sense of urgency. ‐ Slant Magazine
Read More | Posted Mar 12, 2018
2.5/4 38% The Strangers: Prey At Night (2018) The film is content to deliver a few jumpy thrills before slinking away into the night like one of its murderous marauders.‐ Slant Magazine
Read More | Posted Mar 8, 2018
2.5/4 86% Thoroughbreds (2018) Cory Finley's screenplay is full of sharp, exactingly timed exchanges whose rat-a-tat rhythms exert a spellbinding pull, even if the dialogue at times comes off as artificial and mannered.‐ Slant Magazine
Read More | Posted Mar 5, 2018
3.5/4 96% Foxtrot (2018) Icy absurdism and sorrowful ironies abound throughout Samuel Maoz's Foxtrot, whose laughs stick in your throat like the silent screams of its Job-like protagonist.‐ Slant Magazine
Read More | Posted Feb 25, 2018
2.5/4 83% Game Night (2018) The film establishes coherent characters and drops them into a twisty mystery plot that's tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.‐ Slant Magazine
Read More | Posted Feb 22, 2018
2.5/4 82% Early Man (2018) Nick Park's talents often serve only to highlight the fundamental lack of inspiration at Early Man's core.‐ Slant Magazine
Read More | Posted Feb 12, 2018
1.5/4 63% The Boy Downstairs (2018) Endeavoring to give us a post-mumblecore spin on Annie Hall, writer-director Sophie Brooks seemingly fails to understand what made Woody Allen's film so appealing: its rich, multi-faceted characterizations.‐ Slant Magazine
Read More | Posted Feb 12, 2018
2.5/4 64% Peter Rabbit (2018) Peter Rabbit plays like a country cousin to Paul King's Paddington films, similarly balancing slapstick, absurdism, and a touch of gross-out humor, though without King's transcendently oddball sensibility.‐ Slant Magazine
Read More | Posted Feb 5, 2018
1.5/4 31% The Female Brain (2018) The Female Brain never seems quite sure whether it wants to probe the depths of its title subject or just make us laugh. ‐ Slant Magazine
Read More | Posted Feb 4, 2018
1.5/4 53% Bilal: A New Breed of Hero (2018) The film's animation feels like the result of the cold calculus of an algorithm.‐ Slant Magazine
Read More | Posted Jan 31, 2018
1/4 30% The Clapper (2018) The Clapper hints at the psychological roots of Eddie's peculiar personality, but in the end it isn't at all interested in understanding the man. And that's because it's too busy making fun of him. ‐ Slant Magazine
Read More | Posted Jan 21, 2018
1/4 53% 12 Strong (2018) As Nicolai Fuglsig doesn't allow any complicated thoughts about war, colonization, and mortality to hover around his characters, 12 Strong inevitably proceeds as a jaunty imperial adventure through the wilds of northern Afghanistan.‐ Slant Magazine
Read More | Posted Jan 18, 2018
1.5/4 36% The Leisure Seeker (2018) No matter how likable Sutherland and Mirren are, they're still stuck in little more than an upbeat wish-fulfillment fantasy.‐ Slant Magazine
Read More | Posted Jan 14, 2018
3.5/4 100% Paddington 2 (2018) Paddington 2 stands out for its atmosphere of homey cheer and profound belief in the harmonizing power of warmth, politeness, and the absurd.‐ Slant Magazine
Read More | Posted Jan 10, 2018
1.5/4 87% Vazante (2018) Daniela Thomas seems stymied by her own images, unable to extract the turmoil and violence suggested by her story for fear of upsetting the austere surface harmony of her visuals.‐ Slant Magazine
Read More | Posted Jan 7, 2018
3/4 96% Birdboy: The Forgotten Children (Psiconautas, los niños olvidados) (2017) The film is a phantasmagoria of impressionistic horror, at once despairing, beautiful, haunting, and surreal.‐ Slant Magazine
Read More | Posted Dec 10, 2017
2/4 67% The Pirates of Somalia (2017) Writer-director Bryan Buckley's film is ultimately more interested in the journalist than his story.‐ Slant Magazine
Read More | Posted Dec 7, 2017
1.5/4 62% The Tribes of Palos Verdes (2017) The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.‐ Slant Magazine
Read More | Posted Nov 26, 2017
2.5/4 88% Women in Love (1969) Ken Russell is interested in using the novel's sexually charged characters as figures to be placed into a series of fevered tableaux.‐ Slant Magazine
Read More | Posted Nov 26, 2017
3/4 97% Coco (2017) The film brings Pixar's customary emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.‐ Slant Magazine
Read More | Posted Nov 17, 2017
1.5/4 44% The Star (2017) Director Timothy Reckart's The Star turns the greatest story ever told into just another kids' movie.‐ Slant Magazine
Read More | Posted Nov 16, 2017
2/4 84% Wonder (2017) The film has an almost pathological need to ensure that everything turns out well for every single character, while at the same time eliding any truly difficult issues.‐ Slant Magazine
Read More | Posted Nov 16, 2017
1.5/4 20% Daddy's Home 2 (2017) Daddy's Home 2 portrays parenting as the death of manhood, a final surrender to the castrating effects of domesticity.‐ Slant Magazine
Read More | Posted Nov 9, 2017