For 171 reviews, this critic has graded:
  • 54% higher than the average critic
  • 5% same as the average critic
  • 41% 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 Jane
Lowest review score: 16 The Vanishing Of Sidney Hall
Score distribution:
  1. Positive: 82 out of 171
  2. Negative: 26 out of 171
171 movie reviews
    • 59 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.
    • 81 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.
    • 71 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.
    • tbd Metascore
    • 83 Kate Erbland
    It’s a fluffy spin on the recovery genre, but it’s a fresh one, and deGuzman’s hard-won life experience adds veracity and honesty to the snappy narrative. She’s also just plain wonderful to watch, providing a tough character in a tough situation with the maximum of grace.
    • 48 Metascore
    • 58 Kate Erbland
    When Tomb Raider digs into its more creative action, it’s about as entertaining as popcorn entertainment gets these days. It’s when the film falls back on the old tropes that things grind to a halt.
    • 38 Metascore
    • 58 Kate Erbland
    Choked by overwrought trappings and suffocated by an unforgiving narrative structure, Wim Wenders’ “Submergence” is only bolstered by a pair of sterling performances from stars Alicia Vikander and James McAvoy, both of whom somehow rise above the lackluster film they’re sunk into.
    • 72 Metascore
    • 83 Kate Erbland
    RBG
    Ginsburg’s life — and its many lessons, both learned and taught — come to entertaining and energetic life. It’s a fist-pumping, crowd-pleasing documentary that makes one heck of a play to remind people of Ginsburg’s vitality and importance, now more than ever.
    • 46 Metascore
    • 58 Kate Erbland
    Aussie director Nash Edgerton loads up on some of his signatures, including lots of bad guys, tons of twists, and a dark sense of humor. Unfortunately, his sensibilities are dulled by a sprawling story that never quite snaps together.
    • 48 Metascore
    • 83 Kate Erbland
    The only thing scarier than Prey at Night is the possibility that we might have to wait another decade for more of its very special mask-faced chills.
    • 67 Metascore
    • 91 Kate Erbland
    Jason Clarke opts for a more low-key approach to Teddy Kennedy, eschewing a big accent or showy mannerisms, and fully disappears into the role. It’s his finest work yet, and proof of his ability to excel given the right material.
    • 52 Metascore
    • 42 Kate Erbland
    Set aside the contrivances and creepy plot twists, and Michael Suscy’s Every Day offers up a timely message about acceptance and the nature of love that’s especially welcome at the moment. Unfortunately, the movie falls short of doing justice to that idea.
    • 41 Metascore
    • 42 Kate Erbland
    The formulaic approach to presenting each story — which ostensibly track different people Julia herself has studied, though she never interacts with them — is predictable, static, and wholly clinical.
    • 69 Metascore
    • 58 Kate Erbland
    Anderson does add some style to the film, doing wonders with an indie-sized budget for a film that requires a specific period setting.
    • 18 Metascore
    • 16 Kate Erbland
    Initially it seems as if Sidney Hall will just be another film about lone geniuses trapped in worlds where they’re misunderstood or undervalued, but the film then unspools into nearly two hours of baffling narrative choices, weak character development, and so many offensive cliches that it would be funny if it wasn’t so, well, offensive.
    • 88 Metascore
    • 91 Kate Erbland
    Paddington’s ability to positively impact people is so profound that it can’t help but stretch out towards the audience, too. We may know that being kind and polite doesn’t always set the world right, but damn if that little bear doesn’t make you want to try.
    • 40 Metascore
    • 50 Kate Erbland
    Some of the goofier bits from Pitch Perfect 2 has been excised, and this latest entry focuses more firmly on the bonds between the ladies after its somewhat mean-tipped predecessor, though it never hits the girl-powered highs of the original. But mostly, it’s yet another unholy mashup of disparate tones that’s never as fun or frisky as the original material.
    • 42 Metascore
    • 42 Kate Erbland
    The cheerless, choppy nature of A Bad Moms Christmas keeps each storyline feeling oddly singular, and it’s worse for it.

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