For 415 reviews, this critic has graded:
  • 65% higher than the average critic
  • 10% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Crime After Crime
Lowest review score: 0 Two Weeks to Go
Score distribution:
  1. Negative: 67 out of 415
415 movie reviews
    • 33 Metascore
    • 60 Katie Walsh
    Heartstring-tugging if a bit humorless.
    • 47 Metascore
    • 60 Katie Walsh
    Gorgeous and naturalistic shots by cinematographer by Autumn Durald speak volumes, and the atonal, foreboding score by Nathan Halpern creates a sense of dread, though they are ultimately squandered in an underdeveloped story.
    • 49 Metascore
    • 60 Katie Walsh
    Unfortunately, there’s a missed opportunity to develop the suspense within a structure that has built-in tension. The pacing remains steady during the ramp-up to the final pitch, but it lacks competitive drama.
    • 37 Metascore
    • 60 Katie Walsh
    The greatest appeal of The Girl King lies in the fascinating historical character and the formidable actress portraying her.
    • 65 Metascore
    • 60 Katie Walsh
    The film itself is a bit rudimentary, with amateurish titles, and editing choices that bloat the already extended length, but the interviews with band members and fans are insightful and engaging, with archival footage that truly rocks.
    • 58 Metascore
    • 60 Katie Walsh
    The film is a moody and lyrical contemplation of grief and the connections that can be found within the void of loss.
    • 75 Metascore
    • 60 Katie Walsh
    A sweet if underwhelming documentary with plenty of character, but told in such a simple and gentle way, it doesn’t quite grab audiences as it could.
    • tbd Metascore
    • 60 Katie Walsh
    Barton is a standout as the alluring, broken young woman who hides as much as she reveals.
    • 62 Metascore
    • 60 Katie Walsh
    Roseanne for President can’t quite decide what it wants to be: a political farce underlined with John Philip Sousa-esque military marches, a deep dive into the electoral workings of various third parties like the Green Party and the Peace and Freedom Party or an intimate portrait of a fascinating, wild and influential cultural icon. It’s all of these things and therefore not quite enough of each of them.
    • 54 Metascore
    • 60 Katie Walsh
    The film meanders, and the climax descends into campy fantasy worthy of any ’80s B-movie, but Records is quietly winning.
    • 53 Metascore
    • 60 Katie Walsh
    Brother Nature has its amusing moments, providing a showcase that tends toward the formulaic and predictable.
    • tbd Metascore
    • 60 Katie Walsh
    There are a few times when a viewer less familiar with this world can feel a bit out of place, though it is possible for anyone to find amusement in this winsome if slight film.
    • 36 Metascore
    • 60 Katie Walsh
    The cast is stocked with some of comedy’s best actors, which elevates the rather pedestrian material.
    • 58 Metascore
    • 60 Katie Walsh
    While The Greasy Strangler eventually becomes tiresome in its relentless repellence, it’s just so odd it deserves to be lauded for simply existing.
    • 51 Metascore
    • 60 Katie Walsh
    Desierto is a generic thriller that happens to be wrapped in political packaging. That packaging is sometimes more interesting than the thrills themselves, but the film is bare enough to project what you want onto it.
    • tbd Metascore
    • 60 Katie Walsh
    The gently affecting Keep in Touch extends its stay a bit too long, stretching the story where it could have been more efficient. But it’s a fine showcase for McPhee’s lovely songs, Bachand’s lead performance, and the assured direction of Kretchmar.
    • tbd Metascore
    • 60 Katie Walsh
    It’s an interesting concept and Fools executes it well enough, though too often it leans on ambiguity and odd interactions.
    • 36 Metascore
    • 60 Katie Walsh
    Assassin's Creed will be polarizing, but it's fascinating as an entry in Kurzel's oeuvre. It is singularly his film — both in style and the obsession with hubris, power and violence.
    • 48 Metascore
    • 60 Katie Walsh
    In its loose, hallucinatory narrative, we gain a sense of the nightmares caused by a loss of spirituality and physical connection. It may leave you questioning if the Mayans were right all along.
    • 37 Metascore
    • 60 Katie Walsh
    The Bye Bye Man is cheesy, but it feels knowingly cheesy, with a heavy dose of wink-wink, nudge-nudge from the filmmakers.
    • tbd Metascore
    • 60 Katie Walsh
    It’s a taut, if somewhat hysterical, cycle of bait and switch, twists and turns, retribution, vengeance and mental torture payback for immature mind games with deadly results.
    • 44 Metascore
    • 60 Katie Walsh
    Aftermath can’t quite sustain its controlled tone, relying on operatic melodrama and limp plot twists as it concludes in an uneasy resolution.
    • 64 Metascore
    • 60 Katie Walsh
    The maximalist approach isn’t necessary to enhance the wild tales, but the film does reflect its subject in its messy yet invigorating approach.
    • 53 Metascore
    • 60 Katie Walsh
    Lynskey, Ellis, and Jackson are charming enough to buoy this lightly dramatic tale, but with a laid-back energy the stakes are never quite high enough. “Little Boxes” offers tame social commentary in a pleasant package.
    • tbd Metascore
    • 60 Katie Walsh
    The film has the feel of a television news program, and at feature length lags. But the sheer overwhelming enormity of this injustice pierces through, poignantly, again and again.
    • 52 Metascore
    • 60 Katie Walsh
    47 Meters Down doesn't have the campy sparkle that made “The Shallows” a cult hit, but it's the kind of cheesy thriller that's good for a few jumps and a few chuckles at its own silliness.
    • 59 Metascore
    • 58 Katie Walsh
    That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.
    • 69 Metascore
    • 58 Katie Walsh
    An unprecedented take on the holiday film, but not an entirely successful one.
    • 56 Metascore
    • 58 Katie Walsh
    While the performances are compelling, particularly Franco's, and the ideas batted around are worth grappling with, much of the storytelling is bogged down by extra details and exposition, and hampered by its unwillingness to take a position on the topic. An interesting story, but unfortunately, rather uninterestingly told.
    • 36 Metascore
    • 50 Katie Walsh
    Cusack puts in work as Paul, an old-fashioned hero. But he seems miscast and can't quite modulate the levels of camp in his performance.

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