For 481 reviews, this critic has graded:
  • 62% higher than the average critic
  • 11% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Newtown
Lowest review score: 0 Natural Born Pranksters
Score distribution:
  1. Negative: 78 out of 481
481 movie reviews
    • tbd Metascore
    • 20 Katie Walsh
    Spent exhausts the audience’s goodwill within the first few minutes of this bizarre project, and requires the utmost patience to endure.
    • 45 Metascore
    • 40 Katie Walsh
    Beyond Skyline is a boldly bonkers film, and it leans into its genre goofiness with a straight face thanks to Grillo. But more humor would have gone a long way in sustaining interest and entertainment, as it’s not quite funny, and too low-budget to take seriously.
    • 58 Metascore
    • 50 Katie Walsh
    With a lovely voice performance from Cena, the spirit of Ferdinand does shine through. But the rest of the story filler is mostly forgettable.
    • tbd Metascore
    • 90 Katie Walsh
    Though I Am Evidence processes a tremendous amount of data and information, it’s a deeply personal and intimate film. However distressing it may be, it leaves room for hope.
    • 44 Metascore
    • 90 Katie Walsh
    The Dancer is such a bold and assured film, wildly creative and sensual, that it feels far more sophisticated than a debut, and signals Di Giusto as one to watch.
    • 52 Metascore
    • 50 Katie Walsh
    Kaleidoscope is brilliantly crafted and performed, but it’s a bit too taken with its own muddling of facts and form to truly hook into.
    • tbd Metascore
    • 40 Katie Walsh
    This debut effort from Hickman lacks the dramatic tension and connective tissue to truly compel, but his gritty, high-energy aesthetic can no doubt be applied to better results with a stronger script.
    • 67 Metascore
    • 60 Katie Walsh
    Ultimately, it feels irresponsible to remain unwilling to take a stand on this extreme abstract rhetoric in support of an all too real and immediate threat.
    • 71 Metascore
    • 90 Katie Walsh
    As comfortable to slip into as an afternoon in the sun, as satisfying as a late-night piece of cake, Princess Cyd is a jewel of a film that plumbs thematic depths far below its surface.
    • 55 Metascore
    • 70 Katie Walsh
    For a film that’s incredibly angry and blackly comic, it finally, and surprisingly, makes a case for compassion and understanding.
    • 77 Metascore
    • 70 Katie Walsh
    To consider the long-standing Bourj al Barajneh is to consider the true humanity of refugees, who have hopes, dreams, lives to live and work to do. “Soufra” efficiently and effectively illustrates those ideas.
    • tbd Metascore
    • 20 Katie Walsh
    For all of the mini-melodramas that populate this tale, and the repellent ickiness in the central relationship, the worst part about Almost Friends is how incredibly dull and dramatically inert it is.
    • 42 Metascore
    • 50 Katie Walsh
    It's a serviceable animated movie appropriate for the season, but there's nothing beyond its source material that marks it as particularly unique or special.
    • 45 Metascore
    • 38 Katie Walsh
    The breathtakingly bad Justice League, with its corny banter and terrible effects just might signify a return to that goofy Batman form.
    • tbd Metascore
    • 40 Katie Walsh
    Art Show Bingo might be sweet, but it's dramatically inert.
    • 58 Metascore
    • 60 Katie Walsh
    Morgan’s arch script about the doomed love lives of the young, rich and idle in L.A. is at times a Whit Stillman-esque social satire. There’s a whiff of a whip-smart, acid-tongued Jane Austen heroine in Annette, but she’s lacking an essential ingredient: empathy.
    • 30 Metascore
    • 63 Katie Walsh
    The surreal and silly sequel to the hit 2015 comedy skates on the well-known but still-appealing comic personas of stars Will Ferrell and Mark Wahlberg and their zany chemistry.
    • 73 Metascore
    • 70 Katie Walsh
    Anchored by Asensio's fearless and gripping performance, Most Beautiful Island directs an unflinching point of view toward an often invisible population.
    • 42 Metascore
    • 30 Katie Walsh
    What's offensive about A Bad Moms Christmas (and “Bad Moms”) is just how shoddily made it is.
    • tbd Metascore
    • 70 Katie Walsh
    Suck It Up is directed with a fluid, crisp sense of energy and musicality by Canning, with a rock/grunge soundtrack
    • tbd Metascore
    • 70 Katie Walsh
    Wong’s deft script and sure-handed direction means that even as these characters spiral, we never blame one or the other. It’s a unique approach to storytelling and character building, and it signals Wong as a major talent to watch.
    • 54 Metascore
    • 70 Katie Walsh
    It’s not an intimate portrait of the woman, but a celebration of the sex-positive, taboo-breaking image she created for herself and the way she rocked American culture during a hugely transitional moment.
    • 43 Metascore
    • 63 Katie Walsh
    Refreshingly resistant to predictability.
    • 68 Metascore
    • 63 Katie Walsh
    While parts of Thank You for Your Service work well, overall, the film is inconsistent.
    • 42 Metascore
    • 25 Katie Walsh
    Ultimately Suburbicon is woefully underwritten. Gardner and Maggie are mere sketches, a set of facial tics and accessories masquerading as real characters.
    • 49 Metascore
    • 60 Katie Walsh
    Same Kind of Different as Me takes its time, but the performances by Kinnear, Zellweger and especially Hounsou sneak up on you, building to an emotional, but not overstated climax.
    • 23 Metascore
    • 38 Katie Walsh
    A jumbled nonsensical mess.
    • tbd Metascore
    • 20 Katie Walsh
    The self-seriousness of this loony swing-and-a-miss shares a tone with Tommy Wiseau’s outrageously amateurish cult classic “The Room” but isn’t nearly as entertaining.
    • 59 Metascore
    • 70 Katie Walsh
    It’s an artful, boundary-pushing debut from Radcliff and Wolkstein, with breakthrough performances from Freedson-Jackson, and Pettyfer, perhaps signaling a new direction in his career.
    • 44 Metascore
    • 50 Katie Walsh
    Coltrane displays a range he hasn’t shown before onscreen, dipping into darker realms as the romantically spurned blue collar townie Victor. But Fitzgerald runs away with Blood Money as femme fatale Lynn.

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