For 221 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Kate Taylor's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Happy End
Lowest review score: 12 American Assassin
Score distribution:
  1. Negative: 21 out of 221
221 movie reviews
    • 54 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.
    • 60 Metascore
    • 75 Kate Taylor
    There are only two erotic scenes between the two women, and Macneill, Sevigny and Stewart handle them with conviction: For all the horror of her situation, Lizzie needed some larger motivation to wield her axe. Lizzie dramatically provides it.
    • 74 Metascore
    • 63 Kate Taylor
    Love, Gilda reveals this but does not probe it. With various soft and admiring interviews, it relies mainly on Radner’s own words to hint at how dark things got.
    • 65 Metascore
    • 50 Kate Taylor
    Hansen-Love’s ability to evoke the unspoken remains in full play as she returns to themes of young love and emotional crisis, but much of the film is in English and both dialogue and delivery feel stilted. Meanwhile, it’s never clear why being the object of a youthful crush might be a good cure for PTSD.
    • 63 Metascore
    • 63 Kate Taylor
    The core trio are smooth and amusing in their roles, but the larger plot is filled with painful stereotypes, from a tough female cop to various black gangsters. Meanwhile, as the sympathetic criminals try to outwit police, the social theme remains unfocused – despite heartfelt pleas for street people, especially the homeless Inuit of Montreal.
    • 55 Metascore
    • 50 Kate Taylor
    Part police procedural, part supernatural thriller, part lesson in metaphysics and all neo-noir, Carol Morley’s Out of Blue never gels into a convincing whole.
    • 67 Metascore
    • 75 Kate Taylor
    The apocalyptic vision of the heartland created by Sutton and his cast (based on the novel by Frank Bill) is impressively convincing, even if the themes are often overstated and the film itself is very hard to watch.
    • 63 Metascore
    • 50 Kate Taylor
    [A] bafflingly unbalanced film by American auteur director Alex Ross Perry.
    • 28 Metascore
    • 25 Kate Taylor
    Perhaps explanations for all these improbable scenarios were lost on the cutting-room floor during Dolan’s notoriously prolonged editing process.
    • 74 Metascore
    • 75 Kate Taylor
    Colette is a satisfyingly conventional biopic about a highly unconventional woman.
    • 87 Metascore
    • 75 Kate Taylor
    Jenkins creates many remarkable scenes, particularly as the male characters discuss the racist realities with which they live.
    • 74 Metascore
    • 75 Kate Taylor
    The naively amenable character is wonderfully observed by Fonte, and early scenes show delicious whimsy and black comedy...but as the film’s numbing brutality takes hold the character’s passivity makes the action drag in places.
    • 90 Metascore
    • 63 Kate Taylor
    Form and content seem oddly divorced, but music – the Polish folk tunes, communist-propaganda anthems and Parisian torch songs – sets the mood and saves the day.
    • 75 Metascore
    • 100 Kate Taylor
    It’s a film full of delicate metaphors and gentle humour – the locals have elaborate rules for giving a warning honk of the horn on their one-track road but refuse a simple suggestion to widen it – and meanders, sometimes a bit elliptically, to its conclusion.
    • 88 Metascore
    • 100 Kate Taylor
    It rejoices in a classic structure in which one upward trajectory and one downward meet for a shining moment in the middle. Under Cooper’s direction – and thanks to his chemistry with his co-star – the movie throbs with the excitement of that meeting, while the downfall of his alcoholic rocker achieves an almost tragic catharsis.
    • 68 Metascore
    • 75 Kate Taylor
    As he transfers his talents to a European setting and Spanish-speaking cast, Farhadi loses none of his remarkable ability to observe close relationships collapsing under stress.
    • 64 Metascore
    • 75 Kate Taylor
    Director Karyn Kusama shifts dexterously between the present and the past, unspooling a satisfyingly twisted piece of storytelling by writers Phil Hay and Matt Manfredi, who succeed in making both plots gripping. Kudos to Kidman for taking on an ugly role (both physically and morally) and for giving both versions of the character a convincing hardness.
    • 71 Metascore
    • 75 Kate Taylor
    The film will make highly informative viewing both for those who get it – and for those who don’t.
    • 52 Metascore
    • 75 Kate Taylor
    As director Michael Noer struggles to tease a theme out of a string of exploits, Papillon remains as entertaining as ever.
    • 62 Metascore
    • 88 Kate Taylor
    Coixet occasionally overplays her hand – a dropped headscarf, a sudden death – as does a constipated Bill Nighy in the role of the reclusive widower who is Florence’s one ally, but overall, the film is stealthily impressive.
    • 74 Metascore
    • 50 Kate Taylor
    As the obscenities of wealth accumulate while a large cast of Asian and Eurasian actors render their many silly characters, the source of the laughter becomes troubling.
    • 66 Metascore
    • 88 Kate Taylor
    Turtletaub has some difficulty ending the film, which resolves itself with one too many closeups of Macdonald gazing out at the world, whether from a lakeshore or a train window, as both the script and its director struggle to figure out what happens next.
    • 83 Metascore
    • 75 Kate Taylor
    A bold, if sometimes preachy, film that is stylistically daring, improbably entertaining and politically supercharged.
    • 60 Metascore
    • 50 Kate Taylor
    No, Christopher Robin is not a naked cash grab, just a prettily clothed one.
    • 52 Metascore
    • 50 Kate Taylor
    The difficulty is that Fogel hasn’t got enough plot here to keep things going at this smart pace. Even by the standards of a spy comedy, The Spy Who Dumped Me’s wafer-thin storyline makes precious little sense.
    • 39 Metascore
    • 63 Kate Taylor
    The storytelling is bald and the logistics remain vague. The adult characters, especially a sadistic prison guard, are laughably overblown and the simplistic dialogue betrays the script’s YA roots.
    • 53 Metascore
    • 50 Kate Taylor
    Greenfield tells us she charts the extremes to understand the mainstream, but glimpses of an explanation for the insanities and obscenities depicted in Generation Wealth are frustratingly few.
    • 45 Metascore
    • 25 Kate Taylor
    This sadly derivative film has one too many screenings of "All the President’s Men" written all over it.
    • 60 Metascore
    • 63 Kate Taylor
    The key to the franchise is that Mamma Mia! never takes itself seriously: This time out, the joy is giddy but the sentiments are cloying; the musical scenes are mainly delightful, but quieter moments often fall flat.
    • 50 Metascore
    • 50 Kate Taylor
    Filled with lovable eccentrics, Boundaries tries too hard to avoid the commonplace as its jolts erratically down the well-travelled, heavily signposted route that is the big-hearted road-movie.

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