For 560 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 1.7 points lower than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 City of Ghosts
Lowest review score: 0 The Red Pill
Score distribution:
  1. Negative: 91 out of 560
560 movie reviews
    • 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.
    • 60 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.
    • 66 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.
    • 37 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.
    • 57 Metascore
    • 70 Katie Walsh
    At times, it seems like a parody of itself but manages to beguile while it sermonizes.
    • 65 Metascore
    • 75 Katie Walsh
    Upgrade is a brutish, efficient and well-executed slice of cyberpunk action horror with a silly streak.
    • tbd Metascore
    • 70 Katie Walsh
    This high-concept tale works because of the two leads' charisma and chemistry. Tong is a star, and the role asks her to display her full range. Lei makes a great unlikely romantic hero.
    • 49 Metascore
    • 60 Katie Walsh
    The film celebrates Mary Shelley for the trailblazing woman that she is, but hews far too close to convention to truly represent her life.
    • 67 Metascore
    • 80 Katie Walsh
    It's a rare delight to spend so much time with the inimitable André. This revealing documentary shows the playful, loving and vulnerable side to this towering figure of taste.
    • 56 Metascore
    • 70 Katie Walsh
    Though the script relies on gross-out body humor more often than it needs to, it manages to be deeper and more resonant than most girls gone wild comedies. A truly enjoyable trip.
    • 53 Metascore
    • 70 Katie Walsh
    This movie is either in your wheelhouse or it's not, but for those looking forward to Book Club, it delivers. For what it is — a breezy bit of Nancy Meyers-like fantasy, featuring four beloved actresses talking about sex, baby — it's exceedingly enjoyable.
    • tbd Metascore
    • 40 Katie Walsh
    This crime spree may have style to spare, but that's about all that's holding it together.
    • 81 Metascore
    • 90 Katie Walsh
    This rape revenge story swaps points of view, but it doesn't break the mold. The characters, archetypes and beats are familiar, which allows Fargeat to play with symbolism in a bold, pointed manner.
    • 42 Metascore
    • 50 Katie Walsh
    The disappointment of Breaking In is the wasted potential — there are a few plot setups that could have been further fleshed out or brought back around (why was her father being investigated by the DA?) and Union isn’t given enough opportunity to truly display her charms. This thriller could have really used some room to breathe.
    • 60 Metascore
    • 60 Katie Walsh
    Anything wants to be an unconventional love story but gets distracted by other subplots, and McNeil doesn't take the time to develop what becomes the central story line. Still, it's a fine showcase for a softer side of the always excellent John Carroll Lynch.
    • tbd Metascore
    • 60 Katie Walsh
    Though Debs is a legendary and influential character, the style of "American Socialist" fails to come to life.
    • 42 Metascore
    • 30 Katie Walsh
    The whole endeavor is an exercise in trying to do too many things — rehash a nostalgic property, propel Mexican film star Eugenio Derbez to mainstream stardom, revive Anna Faris' film career — but it never actually manages to be a good movie.
    • tbd Metascore
    • 20 Katie Walsh
    A great cast cannot save the dramatically inert and totally inept rom-com "Alex & The List," which is short on both the rom and the com.
    • 46 Metascore
    • 70 Katie Walsh
    The filmmaking itself is suspenseful, classic horror filmmaking, with plenty of jump scares and ominous camera movements. But where the film succeeds most is in its realistic use of technology.
    • tbd Metascore
    • 50 Katie Walsh
    Anecdotes and photos bring the golden age of Catch One to life, with a lively disco soundtrack and Thais-Williams' font of fascinating stories. But the film itself could use a more rigorous structure as it wanders from anecdote to anecdote and era to era.
    • 58 Metascore
    • 80 Katie Walsh
    Shawkat's writerly voice in Duck Butter is deeply personal and probing. The film is funny and honest and Arteta, working with cinematographer Hillary Spera, balances the intimate material with a light, airy sensuality. Shawkat and Costa each give intensely powerful performances, and together they are magnetic.
    • 34 Metascore
    • 30 Katie Walsh
    Ergüven's vision is a wild, melodramatic journey that offers no answers or insights, and by the end it only leaves one feeling, well, completely flabbergasted.
    • 58 Metascore
    • 70 Katie Walsh
    As a film about punk rock, living on the edge and coming into your own, The House of Tomorrow is a strong debut from Livolsi.
    • 75 Metascore
    • 80 Katie Walsh
    Ultimately, "Bloodlight and Bami" is a rich, delicate tapestry of a life, where each thread is lovingly woven together to create a full picture.
    • 55 Metascore
    • 40 Katie Walsh
    It's confusing and inconsistent, and no amount of Keener can truly anchor it.

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