For 632 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 Crime After Crime
Lowest review score: 0 Natural Born Pranksters
Score distribution:
632 movie reviews
    • 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.
    • 66 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.

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