For 185 reviews, this critic has graded:
  • 56% higher than the average critic
  • 4% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Kate Erbland's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 91 Paddington 2
Lowest review score: 16 The Vanishing Of Sidney Hall
Score distribution:
  1. Positive: 90 out of 185
  2. Negative: 27 out of 185
185 movie reviews
    • 54 Metascore
    • 58 Kate Erbland
    The creativity may be lacking in other areas, but “Goosebumps 2” steps up the creature feature quotient with style and smarts.
    • 62 Metascore
    • 58 Kate Erbland
    Schloss compellingly combines the rangy wildness of hormonal teenagehood with Sadie’s more terrifying instincts, toeing the line between pissed-off teen and possible psychopath with ease. Her Sadie is both brutally dead-eyed and weirdly charismatic; you simply can’t turn away from her, even when you really, really want to.
    • 40 Metascore
    • 42 Kate Erbland
    While there’s certainly room to explore Alcott’s biggest themes in the lives of modern women, here the results feel more hammy than revelatory.
    • 21 Metascore
    • 25 Kate Erbland
    Life Itself thinks you’re stupid. Or, if not stupid, unable to understand how a movie should work. It’s a movie made for people who can’t be trusted to understand any storytelling unless it’s not just spoon-fed but ladled on, piled high, and explained via montage and voiceover.
    • 82 Metascore
    • 83 Kate Erbland
    It’s a film that contains multitudes, and only asks for a world willing to do the same.
    • 58 Metascore
    • 75 Kate Erbland
    It opens as a stilted, awkward drama, complete with the always-delightful Maika Monroe giving literal voice to what appears to be the film’s obvious theme (mommy issues, basically) — and then it takes a surprising flip.
    • 67 Metascore
    • 58 Kate Erbland
    Feig goes for the spaghetti method of storytelling: Throw a whole bunch of stuff at the wall and something has got to stick. Only some does, but the good stuff — the really campy, trashy, nutty stuff — is the kind of thing popcorn cinema hasn’t so happily embraced in years.
    • 46 Metascore
    • 75 Kate Erbland
    Destination Wedding makes the case that the two-hander isn’t dead, even if it struggles a bit when forced to come to a neat, movie-ready conclusion.
    • 64 Metascore
    • 75 Kate Erbland
    Every beat of the film might be obvious, but that doesn’t detract from the enjoyability of watching an indelible young heroine like Lara Jean figure out her own life and just maybe fall in love in the process.
    • 74 Metascore
    • 83 Kate Erbland
    Fans of Kwan’s books will not be disappointed by Chu’s adaptation, as “Crazy Rich Asians” lovingly brings to life some of the novel’s standout scenes, even as Chiarelli and Lim’s screenplay snips away subplots that detract from Rachel’s journey.
    • 79 Metascore
    • 83 Kate Erbland
    It’s a tough story, but told through a decidedly female gaze, Night Comes On blossoms into something beautiful.
    • 39 Metascore
    • 58 Kate Erbland
    The film zips through its final act at breakneck speed, doling out answers and riling up new conflicts with little care for how they impact a standalone story, just setting up for a franchise that might never come to fruition.
    • 60 Metascore
    • 67 Kate Erbland
    Ultimately, throwing the same people in the same place with little to do and even less time to do it is emblematic of the sins of far worse, much less worthy sequels. Without Streep there to tie it altogether, well, it just doesn’t sing.
    • 61 Metascore
    • 75 Kate Erbland
    When White Fang focuses on its real stars — animals, Alaska, the spread of untamed country — it’s as visionary as any animated film. Placed alongside ham-fisted humans, it loses its power.
    • 62 Metascore
    • 83 Kate Erbland
    Set It Up is a classic rom-com brought to life by a pair of wonderfully well-matched stars who seem to revel in the genre. This is cinematic comfort food, the kind we’ve been starving for.
    • 61 Metascore
    • 67 Kate Erbland
    Despite a cool backdrop and a daring idea, the heist itself feels like a third-tier Soderbergh joint, one that’s temporarily bolstered by the same jazzy music and quick cuts that marked the filmmaker’s trilogy, though carried out with considerably less energy.
    • tbd Metascore
    • 25 Kate Erbland
    The high school-set rom-com is a sexist and regressive look at relationships that highlights the worst impulses of the genre.
    • 56 Metascore
    • 75 Kate Erbland
    It’s as wild and unhinged as the other films in its brethren (the MPAA does not typically rate original Netflix films, but “Ibiza” would absolutely be on the receiving end of an R). However, Ibiza subverts plenty of expectations in service to a story that’s both funny and sweet.
    • 53 Metascore
    • 58 Kate Erbland
    It’s light entertainment meant to be shared, a big glass of summer fun that goes down easy.
    • 62 Metascore
    • 83 Kate Erbland
    For now, he’s a lone gun, but “Solo” ably lays out how and why that might change. We may know where he ends up, but for now, we can’t wait to see where he goes next.
    • 66 Metascore
    • 75 Kate Erbland
    Like so many franchise-starting first films, “Deadpool” had to push through some necessary evils to get to the good stuff, fortunately, all that subversive goodness is on wild display in Deadpool 2, which delivers on the promise of the first film (and more).
    • 63 Metascore
    • 67 Kate Erbland
    The film shows a refreshing interest in his current existence, rather than becoming a by-the-book retread of his pre-pope life.
    • 42 Metascore
    • 42 Kate Erbland
    The full force of Union’s performance pushes the film to occasional crowd-pleasing results — give this woman a real action role, and fast — and Shaun’s ability to fight back is the one reliable element of an uneven film.
    • 42 Metascore
    • 58 Kate Erbland
    Hammy jokes fall flat and that bloated run time sags in the middle, weighing down would-be snappy humor. It should all pop, but Overboard settles for a low crackle.
    • 82 Metascore
    • 83 Kate Erbland
    Ava
    It’s gut-punch cinema, uneasy and unpredictable, though Foroughi keeps it clicking right along into the rare open ending that feels earned.
    • tbd Metascore
    • 83 Kate Erbland
    Set in Gillan’s own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan’s dark sense of humor and a firm understanding of how to play with narrative conventions.
    • 74 Metascore
    • 67 Kate Erbland
    Love, Gilda is the rare documentary that could stand to pile on longer clips of its subject’s early years without feeling indulgent. Once you start watching Radner, it’s hard to stop, and the sheer force of her talent and the way she reveled in sharing it remains contagious.
    • 59 Metascore
    • 75 Kate Erbland
    How you view her and her lies is meant to say something about you. What it says about Dolezal is left more open to interpretation, as Brownson spends so much time close to her subject that it’s nearly impossible for the filmmaker and her work to not humanize her.
    • tbd Metascore
    • 67 Kate Erbland
    Milch and co-writer Kendall McKinnon don’t actively buck humorous situations — the film is a comedy at its heart, deep, deep down — but there’s a dark underpinning to everything that happens in “Dude,” even when it’s overlaid with bawdy jokes and filthy situations.
    • 57 Metascore
    • 67 Kate Erbland
    The conventional road trip dramedy mines that father-son dynamic for all its worth, but Sudeikis and Harris are very much up to the task, and their chemistry helps the film rise above its tropes.

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