For 40 reviews, this critic has graded:
  • 67% higher than the average critic
  • 0% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Kate Erbland's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 88 The One I Love
Lowest review score: 22 A Million Ways to Die in the West
Score distribution:
  1. Positive: 18 out of 40
  2. Negative: 6 out of 40
40 movie reviews
    • 66 Metascore
    • 88 Kate Erbland
    The film is brisk, funny, smart, and artful, a strong pairing of high concept and relatable storylines.
    • 79 Metascore
    • 87 Kate Erbland
    Gone Girl is a rare bird: a tricky, weird mystery that benefits from people knowing its twist from the outset.
    • 73 Metascore
    • 83 Kate Erbland
    While the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.
    • 57 Metascore
    • 81 Kate Erbland
    Frank’s film is much more of a noir outing than a straight action feature, and Neeson slips right into the tone and feel of the hard-boiled detective offering. Neeson may have been treated to a big career resurgence thanks to his knack for big action, but he’s great as Matt Scudder, and the darker charms of the film suit him wonderfully.
    • 75 Metascore
    • 80 Kate Erbland
    Appropriate Behavior is very funny, even while it’s also being real and heartfelt. It’s a raw story with refined production values, and Akhavan is so open and true in the lead role that what could be an overly insular story instead feels relatable and amusing.
    • 70 Metascore
    • 79 Kate Erbland
    Swanberg’s most mature and satisfying film yet.
    • 69 Metascore
    • 79 Kate Erbland
    The film has enough charm and humor to keep it appealing to a wide audience, and dumbing things down doesn’t feel particularly smart or canny, and proves to be a minor distraction to an otherwise majorly entertaining feature.
    • 53 Metascore
    • 76 Kate Erbland
    An essential entry in the cinematic canon of Spider-Man, complete with new villains, new questions, and new heartaches.
    • 53 Metascore
    • 74 Kate Erbland
    It’s not exceedingly original, it is well-made and a solid entry into the subgenre.
    • 56 Metascore
    • 73 Kate Erbland
    A relatively high-flying adventure, injecting the always-entertaining airplane-set thriller with some fresh thrills and a cadre of characters worth getting invested in.
    • 76 Metascore
    • 72 Kate Erbland
    A truly entertaining and dizzyingly wild horror film.
    • 56 Metascore
    • 72 Kate Erbland
    For a genre that so often sacrifices character development and smaller narrative developments, the majority of The Maze Runner feels quite refreshing and worth the navigation.
    • 60 Metascore
    • 70 Kate Erbland
    Decker’s style is experimental, but not abrasive, and Butter demonstrates her ability to retain an audience’s attention even when refusing to give them a clear story told in a traditional manner.
    • 62 Metascore
    • 70 Kate Erbland
    Not content simply to make a finely tuned undersea action film, Macdonald reaches for something more significant and comes up short, trapping his own treasures under a tidal wave of thwarted ambition.
    • 56 Metascore
    • 69 Kate Erbland
    This is a film about a journey, and while the destination – baseball’s major leagues – is continuously dangled in front of its protagonists, it’s getting there that counts. Oh, and also how fast you can throw a ball. That counts, too.
    • 55 Metascore
    • 64 Kate Erbland
    An amiable cast and a satisfying enough story make The Hundred-Foot Journey stick to your ribs, even if it’s hard to swallow early on.
    • 39 Metascore
    • 61 Kate Erbland
    The Other Woman eschews plenty of standard genre expectations to make an unexpectedly friendship-friendly film.
    • 50 Metascore
    • 61 Kate Erbland
    Baena takes a well-tread road, leaving behind the guts of his promising story and never capitalizing on the charms of either romance or his leading lady.
    • 70 Metascore
    • 60 Kate Erbland
    Test is a slow burn that builds to an impressive end, although the rest of film is in need of that same kind of forward-driving energy.
    • 47 Metascore
    • 60 Kate Erbland
    Kabbalah Me is most satisfying as a personal artifact that traces Bram’s quest, bumps and all, and it stumbles when it attempts to lay on educational aspects.
    • 61 Metascore
    • 60 Kate Erbland
    Cohen’s insights into relationships are sharp, however, and Red Knot is an auspicious start for the budding filmmaker, one rife with good instincts, smart direction, and crisp writing. Kartheiser and Thirlby are the main attraction, however, and when these two ships pass on their own icy seas, the result is more than worth the plunge.
    • 48 Metascore
    • 60 Kate Erbland
    Bolstered by strong performances and a tight narrative, Son Of A Gun is an admirable debut film from Avery, and a worthy new entry into Australia’s burgeoning class of crime features.
    • 55 Metascore
    • 59 Kate Erbland
    Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.
    • 40 Metascore
    • 58 Kate Erbland
    For all its darkness, [it] never really scares up anything new.
    • 38 Metascore
    • 56 Kate Erbland
    It’s all, quite strangely, boring.
    • 71 Metascore
    • 56 Kate Erbland
    Taylor’s film so egregiously picks and chooses from Brown’s life that the result is a holey and unsatisfying document that fails to give due respect to much of the singer’s life (especially the more unsavory stuff).
    • 61 Metascore
    • 52 Kate Erbland
    Even Besson’s most bold choices – and this is a film that goes weird, and then just keeps getting weirder – don’t seem so revolutionary when packaged in such well-tread trappings and increasingly shoddy writing.
    • 57 Metascore
    • 50 Kate Erbland
    Yeh’s charm and compelling story keep things moving along, even as the documentary struggles to find the kind of evocative creativity that she conjures up with her own work.
    • 33 Metascore
    • 50 Kate Erbland
    The plucky DIY spirit that pervades small-scale organizations might work when it comes to launching movements in real-time—and Free The Nipple ideals have already bled over into the non-cinematic world—but it makes for a slapdash and slippery movie experience that never comes together.
    • 42 Metascore
    • 42 Kate Erbland
    Unquestionably the work of both a newbie director and a green screenwriter.

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