For 398 reviews, this critic has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 0.3 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: 15 out of 398
398 movie reviews
    • 80 Metascore
    • 88 Katie Rife
    While Girl Picture isn’t necessarily breaking any new ground, this sensitively rendered dramedy invites viewers into the world of three young Finnish women on the cusp of adulthood with an affection and mellow sense of humor that makes it a more than agreeable cinematic companion.
    • 73 Metascore
    • 75 Katie Rife
    Mija weaves a more nuanced emotional tapestry than is typically seen in immigration stories like this one. Yes, sadness and fear are present. But gratitude, resentment, guilt, stress, hope, and excitement are also essential to Doris’ story, her family’s story, and the Mexican-American community at large.
    • 70 Metascore
    • 70 Katie Rife
    Whether or not it’s to anyone’s particular taste, the fact remains that this is an audacious film that asks viewers to take its hand and come along to some particularly dark, surreal, and grotesque places. Throughout that descent, it holds on with a grip that’s tight enough to keep it from spinning out into ridiculousness. If a film this bizarre can produce gasps instead of giggles, that itself is a remarkable achievement.
    • 54 Metascore
    • 76 Katie Rife
    In spite of the dystopian premise, Kosinski brings a light touch to Spiderhead. Colorful cinematography and spirited editing contrast with the characters’ tragic backstories and bleak living conditions, and highlight the disparity between the chemically induced highs and nightmarish lows of Abnesti’s experiments.
    • 59 Metascore
    • 63 Katie Rife
    After Blue advertises itself as a sci-fi/fantasy epic, and although it’s a long and complicated story with many elaborate settings, it ends up feeling small and inconsequential by the end.
    • 59 Metascore
    • 63 Katie Rife
    If Torn Hearts had pushed itself a little harder, it could have ascended into camp heaven, and maybe become a cult classic. As it stands, it’s an unapologetically high-femme distraction that’s better than your average Lifetime thriller.
    • 32 Metascore
    • 54 Katie Rife
    Firestarter 2022 is a marginal improvement on the ’84 original, if only because it has a handful of redeeming qualities rather than virtually none at all.
    • 75 Metascore
    • 75 Katie Rife
    Thyberg keeps her cards close throughout Pleasure, using the film’s verité framing to obscure the extent of her involvement as a director. The film feels even-handed, in the sense that its fly-on-the-wall style lets situations speak for themselves.
    • 39 Metascore
    • 53 Katie Rife
    While efficiency and originality are both pluses in genre filmmaking, neither of them should come at the expense of creating an immersive world that sparks the imagination, or characters the audience actually cares about. With both of those qualities so woefully underdeveloped, Escape the Field feels not only like a midseason episode, but a premature series finale.
    • 62 Metascore
    • 50 Katie Rife
    Shepherd is more of a bandwagon-jumping exercise in arthouse horror films about grief than a truly bone-chilling example of one.
    • 8 Metascore
    • 25 Katie Rife
    365 Days: This Day is barely a movie. It’s the emotionally bankrupt id of late capitalism, a braindead miasma of choreographed sex and nonsensical fighting driven by greed and violence masquerading as passion.
    • 64 Metascore
    • 75 Katie Rife
    That heartfelt element translates into the benevolence of the adults in this film—Perlman is especially big-hearted, no surprise there—not to mention Tsang’s obvious affection for her troubled protagonist. Together, they imbue “Marvelous and the Black Hole” with enough warmth to overcome its practical limitations. Talk about a sleight of hand trick.
    • 93 Metascore
    • 92 Katie Rife
    Petite Maman is the work of an unusually sensitive filmmaker, and it speaks to Sciamma’s skill as a director that she’s able to express the nuances of this complicated dynamic through such simple actions and words.
    • 82 Metascore
    • 86 Katie Rife
    Although the film ends up as a shallow rumination on revenge and single-minded dominance, it’s hard to beat as spectacle. In terms of making history exciting and engrossing, The Northman is about as titillating as gateway drugs get.
    • 55 Metascore
    • 75 Katie Rife
    Bay’s latest, Ambulance, is a thick, juicy, hilariously overwrought, gloriously stupid steak upon which the vulgar auteurists of the world can feast.
    • 34 Metascore
    • 40 Katie Rife
    In short, it’s the “Imagine” video of movies.
    • 35 Metascore
    • 50 Katie Rife
    The only really surprising—and, therefore, the most disappointing—thing about Morbius is the fact that it’s an honest-to-goodness horror film. But only for a few seconds.
    • 83 Metascore
    • 88 Katie Rife
    It’s about perseverance and the power of working together toward a common goal. Those themes are universally relatable — as is the giddy thrill of watching racist forces of imperial oppression get exactly what’s coming to them.
    • 55 Metascore
    • 75 Katie Rife
    The Adam Project is zippy, agreeable sci-fi fun that produces a few good chuckles. But in moments where undiluted sweetness is required, the film’s glib writing stands out in a negative way.
    • 67 Metascore
    • 67 Katie Rife
    Despite its bolder choices, however, Fresh doesn’t push the body horror as far as it could, and works better as an empowerment fable than as an actual thriller.
    • 70 Metascore
    • 75 Katie Rife
    If there’s a lesson to be taken from Hellbender, it’s this: Underestimate the small and unassuming at your own peril—whether that be the character of Izzy, the film’s real-life creators, or the movie itself.
    • 62 Metascore
    • 58 Katie Rife
    Even when Ellis ramps up the suspense with crosscutting and monster mayhem in the final half-hour, The Cursed has trouble maintaining nail-biting intensity for very long
    • 75 Metascore
    • 75 Katie Rife
    There’s a lot to appreciate about Strawberry Mansion as an aesthetic object, a flight of imagination, and a sci-fi vision.
    • 71 Metascore
    • 83 Katie Rife
    Although Wladyka foregrounds the movie’s razor-sharp edge—there’s a torture scene midway through that’s especially shocking—there’s a political undercurrent to the story, as well as an emotional one, that give Catch The Fair One uncommon resonance.
    • 69 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.
    • 70 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.

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