For 250 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Kate Taylor's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Heimat is a Space in Time
Lowest review score: 12 Joy
Score distribution:
  1. Negative: 24 out of 250
250 movie reviews
    • 88 Metascore
    • 100 Kate Taylor
    Yes, The Father is a familiar story and a universal one. Yet Zeller has been uniquely inventive in the way he evokes the unreliability of memory and the subjectivity of experience in the senile – and the healthy.
    • tbd Metascore
    • 75 Kate Taylor
    Mainly, it features dramatic footage of the protests, following the protestors’ logic as a leaderless movement coalesces on social media and crowd-sources strategies on the fly.
    • 87 Metascore
    • 75 Kate Taylor
    The particularly imaginative handling of the shifts between the human and the more ethereal animal incarnations represent the film’s most rewarding aspect.
    • 79 Metascore
    • 75 Kate Taylor
    The concept and the laughs hold strong amid all the craziness because Seligman has such affectionate sympathy for her mendacious protagonist.
    • 57 Metascore
    • 63 Kate Taylor
    It’s a film that considers young heartbreak so earnestly, it risks taking itself too seriously, too.
    • 41 Metascore
    • 25 Kate Taylor
    Today, homophobia may still blight many a queen’s family relations, but Stage Mother feels dated and formulaic.
    • 75 Metascore
    • 100 Kate Taylor
    To watch German documentarian Thomas Heise’s marathon family memoir Heimat is a Space in Time, the viewer has to continually analyze the relationship between text and image.
    • 51 Metascore
    • 50 Kate Taylor
    Mainly, this movie chatters when it should sing.
    • 64 Metascore
    • 50 Kate Taylor
    Ambivalent and tepid as it attempts to fashion a tick-tock thriller from Ailes’s downfall.
    • 77 Metascore
    • 100 Kate Taylor
    Both shocking and beautiful, the film impresses itself on the viewer with the awesome scale of the imagery – and with the urgency behind it. We have entered an epoch in which human activity is shaping the planet more than any natural force. Anthropocene bears witness that something’s got to give.
    • 87 Metascore
    • 75 Kate Taylor
    Perhaps the bravest thing here is Banderas’ reserved performance: Selfish, hypochondriacal and sadly cocooned, his fictional film director is not a flattering portrait of an aging auteur.
    • 86 Metascore
    • 63 Kate Taylor
    The culminative effect of the cinematography is inconclusive as the character remains trapped in grief.
    • 53 Metascore
    • 75 Kate Taylor
    The restaurant story is wonderfully taut, with Egoyan in full control of his always extravagant imagery.
    • 75 Metascore
    • 100 Kate Taylor
    It is extremely difficult to make something as invisible and ineffable as religious faith seem real, let alone touching, on film; doing that is only one of the achievements of Fernando Meirelles’ unusual look inside the papacy.
    • 69 Metascore
    • 75 Kate Taylor
    The nerd’s coming-of-age is a well-established genre, as is humiliation comedy, yet Coky Giedroyc’s How to Build a Girl is different enough to stand out.
    • 96 Metascore
    • 100 Kate Taylor
    With exuberant naturalism from its non-professional actors, and a standout performance from Kosar Ali as Rocks’s best friend, the film covers the highs and lows of female adolescence with compelling sensitivity.
    • 56 Metascore
    • 50 Kate Taylor
    The problem is not so much Satrapi’s theatrical approach to the subject, which veers wildly from the overwrought to the dramatically compelling, as it is Jack Thorne’s abysmal script, full of clunky exposition about isolating elements, curing cancer and refusing sexism.
    • 77 Metascore
    • 75 Kate Taylor
    The meta-fiction may be overdone, but that and the director’s feeling for tone create the expansive atmosphere in which a talented multiracial cast lead by Dev Patel can master everything from pure melodrama to high comedy.
    • 76 Metascore
    • 75 Kate Taylor
    The detective plot is shaggy and never fully resolves itself, but the implications of the story resonate like a distant drum.
    • 32 Metascore
    • 25 Kate Taylor
    It is not simply that this film is utterly unrealistic – perhaps that can be overlooked; it’s a fable of sorts, set in a scrupulously neutral pan-European setting. What is unforgiveable is that Langseth’s approach to complex emotional issues is unsubtle at best and untruthful at worst.
    • 51 Metascore
    • 38 Kate Taylor
    This film, about a French war correspondent and the Kurdish Amazon with whom she is embedded, has the worthy intention of telling the story of the women’s battalions in Kurdistan, but it’s formulaic and melodramatic.
    • 75 Metascore
    • 75 Kate Taylor
    Ruben’s story may be as oddly illogical as any of his nightmares, but the animation here is a dreamy delight.
    • 66 Metascore
    • 75 Kate Taylor
    With strong performances in a scheme of both sensible updates and clever revivals, Mary Poppins Returns is as impressive as the 1964 version it joyfully recalls – except in one key area.
    • 60 Metascore
    • 50 Kate Taylor
    Perhaps you can accuse all historical fiction of presentism, the sin of applying contemporary values to historical events. Why does the past interest us if not for the comparisons it provides with the present? But with the example of "The Favourite’s" wittily anachronistic romp through the 18th-century court of Queen Anne so fresh at hand, it is hard not to judge the earnest Mary Queen of Scots for its ignorance of the problem.
    • 68 Metascore
    • 50 Kate Taylor
    As Kurt finds his true art in the West, thanks to the help of a fictional version of Joseph Beuys, the film turns gripping, but it ultimately reduces art appreciation to the autobiographical.
    • 76 Metascore
    • 75 Kate Taylor
    The results are highly affecting – so much so, that viewers who suffer from motion sickness may find the film hard to watch. If the approach feels empathetic rather than pretentious, it’s thanks to a crucial anchor: Willem Dafoe’s subtle and humble performance conjures a pitiable van Gogh, shredded by doubt and estranged from people, yet urgently aware of his painterly vision.
    • 76 Metascore
    • 75 Kate Taylor
    For all its successful debunking of the market, there isn’t enough of this prickly love in The Price of Everything.
    • 51 Metascore
    • 50 Kate Taylor
    A critic needs only two words to dispense with The Grinch; the first one is bah.
    • 82 Metascore
    • 100 Kate Taylor
    Both leads fit their performances seamlessly into this destabilizing scheme, providing a provocative timelessness to the characters.
    • 53 Metascore
    • 75 Kate Taylor
    So, the safely scary and often amusing formula holds. Meanwhile, the movie’s conclusion includes enough plot about Stine’s fate to suggest Goosebumps 3 will feature more of the elusive Black and that can only be a good thing.

Top Trailers