For 193 reviews, this critic has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Kate Erbland's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 91 Columbus
Lowest review score: 16 The Vanishing Of Sidney Hall
Score distribution:
  1. Positive: 94 out of 193
  2. Negative: 28 out of 193
193 movie reviews
    • 54 Metascore
    • 33 Kate Erbland
    It's all a shell of itself, with Fred Savage on hand to occasionally note how weird this all is.
    • 51 Metascore
    • 75 Kate Erbland
    Lessons about loving oneself, accepting one’s faults, and being the best version of yourself are cheesy, but not without purpose. Call it cinematic comfort food, but Dumplin' knows how to satisfy.
    • tbd Metascore
    • 75 Kate Erbland
    Despite that iffy start, Garver’s film blossoms into something more comprehensive than complimentary, a film that doesn’t balk at the trickier aspects of Kael’s career, even as it never fully engages with the tensions that informed her.
    • 51 Metascore
    • 58 Kate Erbland
    For every scene of dazzling wonder, there’s another of outsized horror; for every big cat who looks ready to jump off the screen, there’s a wolf that appears bizarrely unfinished. There is little middle ground.
    • 71 Metascore
    • 83 Kate Erbland
    Younger audiences will surely benefit from its messaging, but with such vivid characters it’s entertaining and emotional for all ages.
    • 53 Metascore
    • 58 Kate Erbland
    As impressive as the final showdown is (it’s easily one of the most impressive setpieces in this fledgling franchise) and as shocking as the film’s closing revelations are (yes, they really are), this magic needs a spell of its own.
    • 75 Metascore
    • 83 Kate Erbland
    While the particular brand of art that Meow Wolf crafts isn’t for everyone — audiences uninterested in participatory experiences may very well be turned off by the film’s synopsis alone — the story at the heart of “Origin Story” is universal.
    • 43 Metascore
    • 58 Kate Erbland
    Lisbeth is never going to be cuddly or sunny, but that doesn’t mean she has to be robotic or impossible to read. That’s something that Foy and Alvarez clearly understand, and the result is a heroine not only worth cheering for, but one worth loving and even understanding.
    • 53 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.
    • 59 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.

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