For 653 reviews, this critic has graded:
  • 62% higher than the average critic
  • 11% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Kill Me Please
Lowest review score: 0 Two Weeks to Go
Score distribution:
653 movie reviews
    • 58 Metascore
    • 63 Katie Walsh
    The pace of Instant Family can be relentless. But with the supporting cast and a whole lot of genuine authenticity, Anders hits that sweet spot of hilarious and heartwarming, where the sweetness and tears are well-deserved, and earned.
    • 74 Metascore
    • 90 Katie Walsh
    Jinn is a familiar story, told in a cultural context rarely depicted on film, and Mu’min’s approach is so lyrical and empathetic that it feels completely fresh and new. It’s a remarkable film with sensitive and stirring turns by Renee and Missick in the mother-daughter roles.
    • 73 Metascore
    • 80 Katie Walsh
    Under the Wire brings a vivid immediacy to this tragic event. Conroy speaks candidly to the responsibility that he feels to survive and to tell the stories of the others, a task that he will carry with him for the rest of his life.
    • 56 Metascore
    • 60 Katie Walsh
    There’s a sense of beauty and contemplation in Albertin’s work, and though it seems like danger hangs in the air, there’s an odd lack of tension or suspense, and the film’s pace requires incredible patience. Nevertheless, Nivola’s work is somewhat of a revelation, while Haley proves to be a worthwhile discovery.
    • 58 Metascore
    • 70 Katie Walsh
    It is significant that in this vision of revisionist revenge, the ones who prevail against the Nazis are those who would be marginalized and targeted by them — along with their allies. For all its bloody cacophony, Overlord doesn't lose sight of its heroes.
    • 50 Metascore
    • 63 Katie Walsh
    Beautiful to look at, and diverting enough. The material written to fill out the story is entertaining, but it doesn't resonate. You can't top what Seuss wrote.
    • 62 Metascore
    • 70 Katie Walsh
    El Angel doesn’t offer any concrete answers, and though it paints a vivid portrait of this real-life devil, the fact is that ultimately, we end up seduced by him as well.
    • tbd Metascore
    • 70 Katie Walsh
    The Panama Papers serves as a reminder of the important work reporters do in fighting abuses of power and the way that work is evolving in an increasingly fractured global landscape.
    • 75 Metascore
    • 90 Katie Walsh
    From crisp academic arguments to sick burns, words spew, stutter, and startle, and as delivered by a totally committed Worthy, a soulful Jackie Long, and a posse of actors and rappers from the scene, the wordplay is dizzying, mesmerizing and intoxicating.
    • 39 Metascore
    • 38 Katie Walsh
    This is your warning that if you have any affinity for the ballet, avoid this at all costs.
    • 49 Metascore
    • 63 Katie Walsh
    It's the centrifuge around which the rather uneven film whirls, and Malek keeps it going with his sheer will and talent, aided by a parade of legendary Queen hit singles.
    • tbd Metascore
    • 40 Katie Walsh
    Unfortunately, in Love Jacked, Anderson brings the heat, while West is barely present, unable to keep the necessary chemistry crackling.
    • 53 Metascore
    • 63 Katie Walsh
    Indivisible is surprisingly engaging. With a host of characters, there's plenty to hook into, even if the multiple storylines are all a bit shallow, and the actors are appealing, especially Skye P. Marshall, an Air Force vet who plays the hard-charging Sgt. Shonda Peterson.
    • 29 Metascore
    • 40 Katie Walsh
    While Silencio could be fascinating sci-fi, it’s bogged down in all the family drama.
    • 39 Metascore
    • 25 Katie Walsh
    This limp, lifeless, one-joke action comedy sequel, directed by David Kerr, comes 15 years after the 2003 "Johnny English," and manages to overstay its welcome, even at a scant 88 minutes, mostly because writer William Davies didn't bother to write anything other than "Johnny English is bad at spying."
    • 66 Metascore
    • 63 Katie Walsh
    The film is an achievement in authentic world-building, but you can’t shake the feeling that what Mid90s does say isn’t perhaps what Hill intended it to.
    • 43 Metascore
    • 50 Katie Walsh
    Hunter Killer needs its radar calibrated, because while it bounces between serious and silly, it never quite finds a suitable place to land.
    • 87 Metascore
    • 100 Katie Walsh
    McCarthy is exceptional as the irascible Lee, and her skill in a dramatic role should be no surprise. Her performance is detailed, nuanced and subtly affecting, while Grant brings the relief as the tragicomic Jack, who showboats in circles around McCarthy, who's in the straight man role for a change.
    • 78 Metascore
    • 80 Katie Walsh
    Transformer beautifully captures the process of Janae crafting her own sense of femininity, unique to who she was and who she continues to be.
    • tbd Metascore
    • 30 Katie Walsh
    The story veers off track, and Rokesh can’t cleanly execute the wild tonal shifts and haphazard story beats.
    • 54 Metascore
    • 70 Katie Walsh
    At nearly two hours, An Evening With Beverly Luff Linn grossly overstays its welcome, but the Hail Mary ending proves it to be a rather sweet and tender story about love lost and found in the unlikeliest of places.
    • 67 Metascore
    • 80 Katie Walsh
    With real soul and gravitas, Marks and Power craft romantic drama that demonstrates that life’s hardest challenges can come at any age.
    • 60 Metascore
    • 70 Katie Walsh
    Among all the loquacious chaos, Nat steals the film with the quieter performance as the pained, soulful and deeply feeling Jack.
    • 62 Metascore
    • 70 Katie Walsh
    While the pace of “Sadie” meanders and is often a bit pokey, the excellent cast, including Danielle Brooks as Carla, the local bartender and Rae’s best friend, brings your attention fully to the dramatic goings-on in this tiny community.
    • 53 Metascore
    • 50 Katie Walsh
    The only performance worth mentioning is Jeong, who brings his energetic weirdness to a rather small role.
    • 58 Metascore
    • 50 Katie Walsh
    The comedic actor makes his directorial debut with a politically charged comedy that's sort of a satire, designed to wring wry laughs out of our deeply divided political state. But in this climate, it's just frustrating and unpleasant to watch.
    • tbd Metascore
    • 20 Katie Walsh
    A meandering, pointless and boring rumination on substances and those who love to abuse them.
    • tbd Metascore
    • 60 Katie Walsh
    Though many of the character shifts and story beats are facile, Shine achieves its goal of presenting music and dance as love, connection, family and important forces for maintaining culture throughout the inevitability of urban gentrification.
    • tbd Metascore
    • 70 Katie Walsh
    While the outlook often seems bleak, the message is to take the future into our own hands — to change our behavior and change the world.
    • 88 Metascore
    • 100 Katie Walsh
    Cooper knows he has an audience willing to listen, and what he says is so beautifully, powerfully open-hearted, vulnerable and loving it's overwhelming.
    • 35 Metascore
    • 63 Katie Walsh
    It's a mess, but wow, is it ever a fun, fascinating mess. Those are always so much more thrilling than any of the formulaic superhero movies that parade through multiplexes all year.
    • 40 Metascore
    • 30 Katie Walsh
    This adaptation completely bungles the update.
    • 68 Metascore
    • 70 Katie Walsh
    It inspires deep respect for the fierce and independent artist she is, a person whose voice is necessary, now more than ever.
    • tbd Metascore
    • 70 Katie Walsh
    Leyser’s film is an important document capturing the influence of queercore, an underground movement that enjoys life on the fringes, where identifying as an anti-establishment “arty weirdo” is just as important as sexuality.
    • 60 Metascore
    • 70 Katie Walsh
    Although Smallfoot is formulaic and predictable, what sets it apart is its willingness to dive into the themes of questioning blind faith.
    • 70 Metascore
    • 80 Katie Walsh
    Both bleakly humorous and laugh out loud funny, the brilliant All About Nina is a powerful film about the importance of women’s voices, and the change that can come from telling your story.
    • 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.
    • 53 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.
    • 28 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.
    • 57 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.
    • tbd Metascore
    • 40 Katie Walsh
    Hope Springs Eternal is fine as a leading role for Frampton, who has had small supporting roles in bigger projects such as “Bridesmaids,” but her star power far exceeds the boundaries of this limited project.
    • 30 Metascore
    • 38 Katie Walsh
    Birke's script is plainly straightforward, a simple supernatural chase story. It doesn't plumb the depths of what might make Slender Man scary, so Slender Man isn't scary at all.
    • 47 Metascore
    • 50 Katie Walsh
    Dog Days is in some ways a very strange movie, in the way it straddles the worlds of weirdo comedy and family-friendly fare. But ultimately, it’s the pooches who steal the show.
    • 62 Metascore
    • 70 Katie Walsh
    Anchored by a pair of effervescent and authentically lived-in performances from Mitchell and Morrone, Never Goin’ Back is a sweaty, silly summer adventure, and a sincere shout-out to the power of best friendship.
    • tbd Metascore
    • 10 Katie Walsh
    The story is wildly melodramatic, the execution amateurish, and the line readings from the supporting cast are stilted at best. Traicos is campy and compelling as the gleefully unhinged Jackie, but she’s the only interesting thing in an otherwise dull film.
    • tbd Metascore
    • 50 Katie Walsh
    The intentions are admirable, but the execution and ideas are far too vague.
    • tbd Metascore
    • 60 Katie Walsh
    The unstructured and rather amateurish documentary Citizen Clark …A Life of Principle, directed by Joseph C. Stillman, depicts the compassionate Clark’s remarkable life in his own words and the memories of those around him.
    • 44 Metascore
    • 70 Katie Walsh
    Although every cinematic experiment and story beat doesn’t always work, Hot Summer Nights is downright intoxicating, oozing with panache and sensuality from every pore.
    • 74 Metascore
    • 70 Katie Walsh
    Scanlan is stunning as the odd but fiercely loving Lyn. She regards Iona warily, knowingly, seeing into her future and what she’s walking into, but with no way to stop it.
    • 67 Metascore
    • 75 Katie Walsh
    It's Hill who proves once again he's much more than his comedic origins, crafting a compelling portrayal of the elusive Donnie that just about steals the whole movie.
    • 50 Metascore
    • 50 Katie Walsh
    The Equalizer 2 just doesn't deliver the thrills.
    • 53 Metascore
    • 63 Katie Walsh
    Perhaps it's no fun because it's just too real. There's never a moment of wondering what is going on.
    • 71 Metascore
    • 70 Katie Walsh
    It is a dark and often disturbing, boundary-pushing film, but the detached, almost ironic performance style provides a means to talking about taboo topics.
    • 60 Metascore
    • 75 Katie Walsh
    Much like its predecessor, Mamma Mia! Here We Go Again is escapist fluff of the highest order — joyful, filled with beloved pop songs and incredibly bizarre. Go ahead and treat yourself to this raucous seaside summer confection, you deserve it.
    • 64 Metascore
    • 70 Katie Walsh
    It becomes clear that fame isn’t what he’s chasing — it’s perfection in innovation. Anything less is eighty-sixed.
    • tbd Metascore
    • 70 Katie Walsh
    Despite its frustrating lack of narrative cohesion, there’s something intoxicating about the vibe of Poor Boy. It’s a world you want to explore more, and Pucci’s Romeo is a character worth falling in love with.
    • 51 Metascore
    • 50 Katie Walsh
    Skyscraper — a sort of reverse "Die Hard," where a family man breaks into an imposing structure to save his family — scoots by on the thinnest of premises, and an even thinner script.
    • tbd Metascore
    • 30 Katie Walsh
    Techie buzzwords like “hacking” and “bitcoins” fly, but it’s all just for show. It’s not about the tech, despite a convoluted subplot with an FBI agent in pursuit. The real story is of Sam and Josie, but uneasy romance is misguided to be sure.
    • 43 Metascore
    • 30 Katie Walsh
    Bleeding Steel is a cartoonishly crazy, completely nonsensical cyberpunk action flick that is torturous to behold, and well below Chan’s caliber.
    • tbd Metascore
    • 70 Katie Walsh
    In a state fighting the scourge of opiate addiction, Sheldon presents Jacob’s Ladder as a bright light, building a recovery community on the values of love, compassion and understanding.
    • 57 Metascore
    • 80 Katie Walsh
    Make no doubt about it, Uncle Drew is a very silly film, old-age makeup and all. But it's got humor, heart and a killer soul soundtrack. You'd be soulless to not find some joy in this movie that's pure summer fun.
    • 16 Metascore
    • 10 Katie Walsh
    Everything about this movie seems ripped from the ’80s, including the woefully sexist gender politics. But that’s only one of many reasons that this B-movie dreck should have stayed underwater.
    • 61 Metascore
    • 75 Katie Walsh
    Sollima’s style is cool and observational. There also are several stunts combined with camera movements that are genuinely jaw-dropping.
    • 76 Metascore
    • 80 Katie Walsh
    With careful craftsmanship, Half the Picture is an important piece of testimony in the fight for the civil rights of female directors in Hollywood.
    • 51 Metascore
    • 70 Katie Walsh
    Papierniak’s film is energetic, jam-packed with talent and has a likable indie throwback feel with some memorable moments.
    • tbd Metascore
    • 40 Katie Walsh
    Counterfeiters is an amateurish first film, with inexperienced actors, clunky writing and a homemade ambiance. But the ambition and moments of inspired style are be lauded.
    • 61 Metascore
    • 60 Katie Walsh
    Thompson’s directing is serviceable, if slightly scattered and derivative, using every rom-com trope and flourish available. “The Year of Spectacular Men” feels a bit long and self-involved — and a lot like the men whom Izzy dates, it’s fun but far from spectacular.
    • 56 Metascore
    • 80 Katie Walsh
    Tag
    While Tag doesn’t get every character beat right, it nails the energy and enduring companionship that the game has engendered among the friends. It’s the kind of frothy escapist fare that goes down easy on a hot summer day, with a big old beating heart to boot.
    • 62 Metascore
    • 40 Katie Walsh
    Alex Strangelove is a deeply annoying failed experiment at melding a sensitive LGBTQ love story with the ethos of raunchy teen sex comedies.
    • tbd Metascore
    • 30 Katie Walsh
    The film looks amazing, but the writing is painfully pretentious and the acting beyond stiff and amateurish, so it’s impossible to gain a foothold into this story.
    • 68 Metascore
    • 75 Katie Walsh
    Tangling reality and fiction into one impossible knot is at the core of this story, and the form follows that function.
    • 36 Metascore
    • 30 Katie Walsh
    For all of the manic anti-authoritarian energy that Knoxville and pals generate in Action Point, it’s not directed at anything, which renders it meaningless and leaves the film to fizzle out like a deflated balloon.
    • 62 Metascore
    • 63 Katie Walsh
    Ronan and Howle are tremendous in their performances, especially in the way they physically inhabit the characters, transforming from free and unabashed to tense and closed. The bedroom drama, which is almost theatrical in its setting, is riveting thanks to these two actors, and makes the film worthy of regard.
    • 37 Metascore
    • 40 Katie Walsh
    Social Animals is far darker than its colorful, exhibitionist exterior lets on. As the film builds to a climax, it swings wildly in tone, each scene feeling disconnected from the one before.

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