For 616 reviews, this critic has graded:
  • 62% higher than the average critic
  • 10% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Short Term 12
Lowest review score: 0 Two Weeks to Go
Score distribution:
616 movie reviews
    • 21 Metascore
    • 38 Katie Walsh
    The worst thing about Life Itself is not that it is emotionally sadistic. It's just how much it wants to be emotionally sadistic, while missing the mark by a mile.
    • 52 Metascore
    • 30 Katie Walsh
    It’s a chaotic jumble of movie references, cellphone footage, emojis, trigger warnings and edgy teen content. But it’s the fumbled “feminist” commentary that is just embarrassing to watch.
    • tbd Metascore
    • 80 Katie Walsh
    While the film seeks to put Antonio’s name on the same level as the boldfaced names he rubbed elbows with, it is a stark, sorrowful reminder of the many artistic geniuses cut down in their prime by AIDS.
    • tbd Metascore
    • 30 Katie Walsh
    Despite an energetic supporting cast, including Martin, Alyssa Milano, Danny Aiello and Garry Basaraba, the two leads sleepwalk through this limp and formulaic endeavor.
    • 56 Metascore
    • 50 Katie Walsh
    Despite all the rich elements — the fantastic cast, the wonderfully detailed production and costume design, an oddball family story of black sheep finding each other — there's something missing from The House with a Clock in Its Walls. It's weightless, hop-skipping over necessary story-building, glossing over Lewis' warlock training as well as the personal histories of his guardians.
    • 69 Metascore
    • 63 Katie Walsh
    An emotional and intellectual roller coaster. Moore swings for the fences, as he usually does. But the film, done in Moore's traditionalist maximalist style, is overblown and overstuffed with editorial indulgences. It's clear that stylistically and structurally, less should be more for Moore.
    • 38 Metascore
    • 50 Katie Walsh
    Hunt gives it as all as the tortured Louis, but Patterson is the heart and soul of the film, giving a far more interesting performance as his long-suffering wife.
    • 67 Metascore
    • 75 Katie Walsh
    The consciously campy A Simple Favor is as bright and bracing as an ice cold gin martini with a lemon twist, and just as satisfying.
    • 59 Metascore
    • 75 Katie Walsh
    Director Yann Demange's film White Boy Rick balances these details, both outlandish and intimate, carefully.
    • 60 Metascore
    • 60 Katie Walsh
    The respect for Lizzie means that film almost denies drama, rendering some moments almost inert. It could use an operatic high note, or even a truly deep dark night of the soul, some oscillation in the levels. But the film reflects the evenness with which Sevigny portrays the unflappable Lizzie.
    • 60 Metascore
    • 80 Katie Walsh
    Each character is given a chance at failure and redemption, which is what makes “Sierra Burgess” feel like such a well-rounded world. The smart script and butterfly-inducing romance captures those sweet moments of falling in love — whether it’s with your crush, or even better, with a friend.
    • 29 Metascore
    • 38 Katie Walsh
    While it's fun to watch Garner return to her action roots, the brute force haymaker that is Peppermint is a far cry from the sophisticated thrills of "Alias."
    • 31 Metascore
    • 50 Katie Walsh
    God Bless the Broken Road is a strange Frankenstein's monster of a film, trying to combine too many ill-fitting story elements while straining to incorporate the title of a popular country song.
    • tbd Metascore
    • 60 Katie Walsh
    While Alright Now threatens to spin off its foundations with all of its crazy, loose energy, the central relationship keeps the story on track.
    • 46 Metascore
    • 63 Katie Walsh
    The surface may be ominous, richly textured and morbidly fascinating, but storywise, it remains shallow.
    • 35 Metascore
    • 50 Katie Walsh
    Kin
    It's just a devastatingly sad and terrible story about two brothers who make bad choices, suffer the consequences and lose the last shreds of family they have left. No amount of 11th hour twists, reveals or bigger ideas can shake that inescapable feeling of dread and sorrow.
    • 67 Metascore
    • 80 Katie Walsh
    This film — which follows the process as a litter of puppies make their way through training to become guide dogs for the blind — shows us the best in humanity, as well as the best in dogs.
    • 19 Metascore
    • 30 Katie Walsh
    All in all, just another boring genre exercise.
    • 58 Metascore
    • 63 Katie Walsh
    Unfortunately, Operation Finale feels a bit behind the ball when it comes to the dramatic true story.
    • 29 Metascore
    • 60 Katie Walsh
    It is a fine, if lightweight, little slice of throwback-’80s teen movie tropes with some high-tech flair.
    • 71 Metascore
    • 80 Katie Walsh
    Writer-director Bertrand Mandico’s The Wild Boys is a heady, sexually charged take on “Lord of the Flies” — an exciting sail on the waters of gender fluidity that energetically skewers any notion of the binary.
    • tbd Metascore
    • 40 Katie Walsh
    Dead Envy is interesting for the way it plays off of Di Nardo’s backstory, but this lightweight stalker-thriller doesn’t deliver much else.
    • 15 Metascore
    • 10 Katie Walsh
    The salt in the wound of this painfully out-of-touch film is the footage of real L.A. homeless camps and people, as if the film were saying something trenchant about the issue. What a gross misunderstanding of this glib story about a rich man who steals stories and inspiration from struggling people.
    • 27 Metascore
    • 25 Katie Walsh
    Despite the best efforts of McCarthy, and a winsome Maya Rudolph as Phil’s 1940s-style secretary, Bubbles, The Happytime Murders is more like the “Boringtime Slog.”
    • 85 Metascore
    • 88 Katie Walsh
    The perfect bait-and-switch of a film. Its light, sweetly frisky exterior and easygoing pace camouflages what a subtle and brilliant piece of bracing social commentary it is; a deft portrait of sisterhood existing under the thumb of capitalistic patriarchy.
    • 46 Metascore
    • 70 Katie Walsh
    It’s a silly, fairly rote animated film, but underneath the hijinks and mishaps is a rather devastatingly sad story. It’s this poignancy that makes Luis & the Aliens a step above the rest.
    • 38 Metascore
    • 50 Katie Walsh
    Freed from the respectful restraints of non-fiction, Berg goes completely hog-wild, cinematically, and it doesn't exactly work. The film is a riot of nearly incomprehensible editing, a violent melee of intertwining scenes, shots, characters, formats and timelines, straining the limits of coherence and cogency.
    • 64 Metascore
    • 70 Katie Walsh
    Centineo is the big beating heart at the center of the somewhat reserved To All The Boys I’ve Loved Before. He’s a lot like his character, bringing out the best in this love story.
    • 63 Metascore
    • 50 Katie Walsh
    It's sweet, really, to imagine the kind of devotion Alpha might inspire, a film that's very simple, kind of strange, but will melt any dog-lover's heart.
    • 68 Metascore
    • 70 Katie Walsh
    In the cynical worldview of BuyBust, there’s no escaping this crushing cycle of killing and corruption. That real-life message makes this wild action film more powerful, but the violence is a hard pill to swallow.

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