For 374 reviews, this critic has graded:
  • 63% higher than the average critic
  • 4% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Katie Rife's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Little Women
Lowest review score: 0 The Haunting of Sharon Tate
Score distribution:
  1. Negative: 14 out of 374
374 movie reviews
    • 68 Metascore
    • 75 Katie Rife
    Gerbase, making an impressive feature debut, proves herself a sensitive observer of human nature. The Pink Cloud joins a tradition of sci-fi films like Her that are less interested in their futuristic concepts than how they might affect people.
    • 60 Metascore
    • 67 Katie Rife
    The script, from veteran screenwriter James Vanderbilt and Castle Rock scribe Guy Busick, leans in to the franchise’s fidgety intelligence, swerving and ducking and winking at the camera like the “meta whodunit slasher” it proudly proclaims itself to be.
    • 40 Metascore
    • 42 Katie Rife
    In a spy thriller, a woman who drinks her whiskey neat—girlbosses never dilute—and kicks men in the face wearing a stacked heel has become as much of a cliché as the womanizing secret agent. And The 355 does nothing to complicate, deconstruct, or refresh that cliché.
    • 63 Metascore
    • 58 Katie Rife
    Where Resurrections really disappoints is in the staging of the action. The Hong Kong-influenced long shots that made The Matrix so revolutionary are all but absent, replaced by rapid cuts that render the fight choreography less legible than in previous installments.
    • 53 Metascore
    • 58 Katie Rife
    Levi has a smirking quality to him that sometimes reads as if he can’t believe he’s starring in this crap. He is credible as a clean-cut, all-American boy, however, and he and Paquin work as an onscreen couple. In fact, some of their banter is kind of cute. The supporting cast has its charms as well.
    • 69 Metascore
    • 67 Katie Rife
    Film noir is a cynical genre, and the script makes gestures toward establishing that these characters live in a cold world where nothing matters but the almighty dollar. But del Toro is a romantic at heart, and can’t help swooning where the subtext wants to spit. His sensibility isn’t a bad thing. It just works better when the monsters aren’t human.
    • 73 Metascore
    • 83 Katie Rife
    Belgian movie star Virginie Efira plays the title character with complete conviction, whether she’s kneeling in awe before the Virgin Mary or being pleasured with a dildo carved out of a statue of the Blessed Mother.
    • 59 Metascore
    • 58 Katie Rife
    Ridley Scott's melodrama about the Italian fashion family has its moments, but not enough of them.
    • 74 Metascore
    • 67 Katie Rife
    While Jude succeeds at lampooning the chaos of contemporary political discourse, Bad Luck Banging takes on a few too many issues to make a coherent statement on any of them.
    • 89 Metascore
    • 91 Katie Rife
    The Power Of The Dog divulges its secrets in deliberate, measured fashion, growing richer with each new reveal.
    • 35 Metascore
    • 50 Katie Rife
    An argument can be made for not parsing the social messaging of films like this one too deeply, as the creative team probably didn’t. But Home Sweet Home Alone does merit such criticism, if only because there’s really not much else going on.
    • 74 Metascore
    • 67 Katie Rife
    A specifically French-Canadian and Native coming-of-age story that’s heavy handed in some ways and delicate in others.
    • 72 Metascore
    • 75 Katie Rife
    Cummings and McCabe zero in on an angle they do understand—the death scream of the untouchably powerful man—and can make fun of with precision.
    • 65 Metascore
    • 67 Katie Rife
    Let’s just say that Last Night In Soho is giallo in at least one big respect: Like many of those films, it starts off with a strong concept, then crumbles when it’s time to move beyond striking imagery and get down to the more functional aspects of storytelling.
    • 42 Metascore
    • 50 Katie Rife
    The problem isn’t that Halloween Kills is about nothing more than brutal nihilism; that’s a perfectly acceptable thing for a horror movie to be. It’s that it tries to be about so many things on top of brutal nihilism that it loses its grip early on.
    • 59 Metascore
    • 58 Katie Rife
    As with most of the Welcome To The Blumhouse movies, The Manor has flaws that could probably be attributed to scant resources and a quick turnaround time.
    • 43 Metascore
    • 50 Katie Rife
    Didactic in its approach to the material—which, to be clear, is absolutely horrifying and very real—Madres has some good ideas, but it fails to see the structural forest for the sumptuously photographed trees.
    • 53 Metascore
    • 42 Katie Rife
    Black As Night is assembled in an uninspired YA style that only accentuates the weaknesses of its script, which is laden with stilted dialogue and cringeworthy voiceover.
    • 55 Metascore
    • 67 Katie Rife
    A sometimes clunky but always bold blend of social satire and delirious style.
    • 75 Metascore
    • 75 Katie Rife
    There are a lot of wild twists and turns in this movie, but underneath there’s a constant: the agony of being trapped inside of a human body, and the itchy, restless desire to transcend it.
    • 72 Metascore
    • 67 Katie Rife
    This is a work of feminist melodrama, one that uses real events as a backdrop for a romantic, woman-centric tale of rebellious spirits and dreams deferred. As such, it might not be the most nuanced portrayal of this particular chapter in history. But it is passionate, fathers and doctors be damned.
    • 31 Metascore
    • 42 Katie Rife
    The saddest thing about all of this is that McCarthy and O’Dowd make a convincing onscreen couple, and both of them are strong enough actors to find the real, defeated people in this phony script.
    • 55 Metascore
    • 75 Katie Rife
    If Showalter resists a cartoon takedown of Tammy Faye Bakker, he also hasn’t made a very deep look at her life, either.
    • 68 Metascore
    • 75 Katie Rife
    Luckily, Morales and Duplass have the chemistry and the acting chops to carry this unexpectedly moving film.
    • 34 Metascore
    • 42 Katie Rife
    At 112 minutes, this film is way too long for the amount of story contained within—which, again, would be a forgivable offense, had Amorim filled the extra time with something entertaining. Instead, all we get is inertia, as we wait with the main character for her fate to reveal itself.
    • 71 Metascore
    • 67 Katie Rife
    Shang-Chi’s hero is on a journey to become himself, but the movie is lost inside of the machine.
    • 68 Metascore
    • 58 Katie Rife
    The latest film from The Ritual’s David Bruckner seems to have forgotten that it’s supposed to be a horror movie first and a metaphor second.
    • 71 Metascore
    • 75 Katie Rife
    Ema
    Under the weight of Larraín’s visual style, the emptiness at the center of Ema’s character nearly collapses the film, before a gobsmacking ending reveals her true motivations.
    • 66 Metascore
    • 75 Katie Rife
    Swan Song can be clumsy and sentimental at times, but that’s sometimes the cost of earnestness.
    • tbd Metascore
    • 67 Katie Rife
    Fauna has some smart things to say about how the drug trade and its attendant stereotypes have changed the Mexican popular imagination. You just have to pay attention to follow the film’s many idiosyncratic twists and turns.

Top Trailers