Kate Erbland

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Film.com, IndieWire, The Dissolve
For 700 reviews, this critic has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 0.5 points lower than other critics. (0-100 point scale)

Kate Erbland's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 91 Little Women
Lowest review score: 16 The Vanishing Of Sidney Hall
Score distribution:
  1. Positive: 405 out of 700
  2. Mixed: 253 out of 700
  3. Negative: 42 out of 700
700 movie reviews
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    • 57 Metascore
    • 75 Kate Erbland
    Magic Hour
    Written alongside her real-life husband (and fellow filmmaker) Mark Duplass, Aselton has made it clear in press materials that the film, about a loving if troubled married couple (played by Aselton and Daveed Diggs) isn’t explicitly about her actual marriage. But it’s also not not about her and Duplass’ long-running relationship. Still, once you see where Aselton and Duplass’ script takes their characters, the differentiation becomes easier to swallow, if not all the more intriguing.
    • 67 Metascore
    • 67 Kate Erbland
    A Woman's Life
    Gabrielle is at the center of all things, but what about her center? Well, it’s not going to hold. And there’s no one better to portray that than Drucker, who has become one of our foremost portrayers of women on the edge.
    • tbd Metascore
    • 75 Kate Erbland
    The Easy Kind
    The filmmaker’s documentary background also adds that kind of touch to the film, which so often feels like we’re watching something, well, true. We are, though, and even if it’s a different kind of truth, a scripted one, it’s still sprung from the same well of experience. Elizabeth Cook has plenty of it, now it’s time to keep finding new places for it to shine.
    • 56 Metascore
    • 75 Kate Erbland
    Remarkably Bright Creatures
    Maybe it’s something about seeing Sally Field bond with an octopus, or watching a true inter-generational friendship blossom on screen, or maybe it’s just something more obvious: taking the best parts of a sweet story, and paring it down to its best bits. Or, well, best arms? Tentacles? Whatever can reach out and touch you, just as this film will.
    • 59 Metascore
    • 75 Kate Erbland
    Marc by Sofia
    That someone as successful as Jacobs is so beset by a lack of confidence is a compelling conceit — it also speaks to Coppola’s own interest in the subject, admirable indeed — but in Marc by Sofia, we really believe him. He really is just that worried, always that worried.
    • 49 Metascore
    • 67 Kate Erbland
    Reminders of Him
    It’s smaller, quieter, and it feels true. Not soapy, not silly, not like something ripped out of an airport book buy. That’s the first step.
    • 77 Metascore
    • 91 Kate Erbland
    Project Hail Mary
    To write more about the pleasures and pains of Project Hail Mary would be (yes, over 1,300 words in) a disservice to what’s most entertaining and satisfying about the film: watching it unfold, enjoying the process, accepting the mission, asking the big questions. That’s about as much as you can ask from any blockbuster film these days.
    • 55 Metascore
    • 75 Kate Erbland
    Wuthering Heights
    Clocking in at over two hours, there’s no lack of dazzling design and insane ideas to keep every minute of Fennell’s feature thrilling to watch. As with all of Fennell’s films, boredom is never on offer. And yet, that doesn’t entirely dissipate the feeling that something is still missing here.
    • 65 Metascore
    • 67 Kate Erbland
    Nuisance Bear
    Documentaries should inherently spark questions and debate, but Nuisance Bear too often throws out a buzzword or heady topic and abandons it.
    • 83 Metascore
    • 83 Kate Erbland
    Knife: The Attempted Murder of Salman Rushdie
    Gibney unspools an ambitious, three-pronged timeline that mixes and mingles throughout the documentary, including the immediate aftermath of the attack, Rushdie’s youth and early years of writing, and what happened in 1988 after the publication of his “Satanic Verses.”
    • 69 Metascore
    • 75 Kate Erbland
    Paralyzed by Hope: The Maria Bamford Story
    The honesty with which Bamford approaches all of this (and, yes, surely you must be sick of reading the word “honesty,” but there is simply no better term for who Bamford is and how she lives) is, as her fellow comedians have told us, real and refreshing and actually unique.
    • 77 Metascore
    • 75 Kate Erbland
    Ha-Chan, Shake Your Booty!
    Ha-Chan, Shake Your Booty! offers an effervescent spirit so often missing in this milieu, with a lovely performance from Kikuchi at its center.
    • 65 Metascore
    • 67 Kate Erbland
    Saccharine
    Execution is more of the issue, as the film’s 112-minute running time feels both packed to the gills and unable to fully tackle everything James’ script throws at the wall. Yet a strong visual sense and excellent performances, especially from Midori Francis, are tough to beat.
    • 86 Metascore
    • 91 Kate Erbland
    Josephine
    De Araújo’s masterful ability to interrogate tension on every level keeps the film clipping along, each turn both a surprise and an inevitability.
    • 77 Metascore
    • 83 Kate Erbland
    The Invite
    A truly adult comedy with plenty to say and even more laughs to share.
    • 65 Metascore
    • 83 Kate Erbland
    Carousel
    Carousel feels ripped from the fabric of a million lives. Don’t let the seemingly small nature of the film fool you; there is career-best work here, especially from Pine, who was always made for a romantic drama. This one was worth the wait.
    • 70 Metascore
    • 75 Kate Erbland
    I Swear
    Aramayo’s sensitive portrayal of the man and Jones’ unflinching dedication to showing some of Davidson’s most painful moments, the ones that pushed him into action, add up to an insightful biopic that chronicles a very worthy subject.
    • 73 Metascore
    • 83 Kate Erbland
    Zootopia 2
    Worth the wait? Yes, and we can’t wait for the next one to take wing (wink).
    • 58 Metascore
    • 67 Kate Erbland
    Wicked: For Good
    Much like Wicked, Wicked: For Good works its way up to a massive duet between the pair, so emotionally resonant than even the most wicked of audience members will still likely shed a tear (the song is, of course, “For Good”). It’s an unmitigated high note, but it’s a lonely one indeed. Is it alone worth the wait? Maybe, why couldn’t the entire film feel that way?
    • 50 Metascore
    • 67 Kate Erbland
    Now You See Me: Now You Don't
    The crime-fighting? That’s nice, but the real fun is in the bonding, most of it at the hand of oddly wholesome sequences in which they all try to one-up each other’s magical skills.
    • 61 Metascore
    • 67 Kate Erbland
    Brides
    Nadia Fall’s Brides plugs in some quite unexpected elements to the ol’ road trip formula, with startling — and ultimately heartbreaking — results.
    • 63 Metascore
    • 67 Kate Erbland
    Easy's Waltz
    Vaughn pours himself into the role, but he also seems to understand that going big and broad for this one is a misstep. Easy isn’t a caricature, even if the people and events around him increasingly feel that way.
    • 60 Metascore
    • 67 Kate Erbland
    The Choral
    The result is a light, low-key crowdpleaser that occasionally steps into more harrowing territory before neatly spinning right out of it.
    • 63 Metascore
    • 67 Kate Erbland
    California Schemin'
    It’s fun enough at first, thanks to McAvoy’s energetic direction and strong turns from its young stars.
    • 70 Metascore
    • 83 Kate Erbland
    Hedda
    Hedda’s magnetism is undeniable, and that people would be under her thrall is understandable. DaCosta and a talented team of craftspeople bolster that idea at every turn.
    • 80 Metascore
    • 83 Kate Erbland
    Wake Up Dead Man: A Knives Out Mystery
    It works, and it’s no big mystery why — Johnson knows his form and format, and delivers on it, playing with tone and message but never losing sight of why these stories are so damn entertaining to watch and unravel.
    • 64 Metascore
    • 75 Kate Erbland
    The Lost Bus
    The larger-scale drama is unquestionably effective — what Greengrass and his team of craftsmen and visual artists have been able to do with wind is a miracle, and that’s to say nothing of the fire itself — and so evocative and terrifying that words fail to do it justice.
    • 58 Metascore
    • 83 Kate Erbland
    Christy
    While “Christy” has long been positioned as an awards play for Sweeney . . . her performance here is more nuanced and more painful than early indicators fully let on. She’s committed to the role, but she’s also committed to a story that doesn’t totally fit the usual mold. It doesn’t pull punches, even if that ultimately leaves a different kind of mark on its audience.
    • 58 Metascore
    • 67 Kate Erbland
    The Roses
    That McNamara has written a truly new spin on Adler’s novel is genuinely refreshing, but the lighter tone and greater reliance on actual romance between its leads makes what’s to come all the harder to swallow.
    • 60 Metascore
    • 83 Kate Erbland
    Freakier Friday
    Leave it to Jamie Lee Curtis and Lindsay Lohan to crack the code as to what makes a good legacyquel, which they’ve done quite handily with their long-gestating Freaky Friday sequel, Nisha Ganatra’s charming and quite fun Freakier Friday. The secret? Fittingly enough, it harkens back to exactly what Curtis and Lohan brought to Mark Waters’ 2003 Freaky Friday: actual verve, obvious joy, and performances that are about three times better than they need to be.
    • 52 Metascore
    • 67 Kate Erbland
    Happy Gilmore 2
    And, yes, it is also often quite funny. Most of that humor comes care of Sandler, who slips back into Happy with something like grizzled ease, and seems to have not lost a trick on what makes the character both so funny (his rage, his imagination, his fashion sense) and so easy to care about (his rage, his imagination, his fashion sense).
    • 62 Metascore
    • 83 Kate Erbland
    Oh, Hi!
    The devil is in the details, and the details? Well, they’re in the kind of patchwork-guessing and random sign-seeing that so many are forced to endure as they embark on the horrors of modern dating. Brooks just takes them in some delightfully daffy (and occasionally deeply scary) new directions.
    • tbd Metascore
    • 75 Kate Erbland
    Shari & Lamb Chop
    D’Apolito covers a staggering amount of ground here, much of that possible because of Lewis’ special brand of candor.
    • 75 Metascore
    • 75 Kate Erbland
    Sally
    Yes, Ride’s life was rife with tensions, both personal and professional. So how do we build a film around that? Carefully. Perhaps too carefully.
    • tbd Metascore
    • 75 Kate Erbland
    It's Dorothy!
    Packed with major talking heads, zippy animation, and a bouncing (and bouncy) sense of time (and timeline), “It’s Dorothy!” succeeds mightily when it comes to its most elemental thesis.
    • 61 Metascore
    • 67 Kate Erbland
    How to Train Your Dragon
    No one needs a live-action remake, but ones this faithful and sweet are not the problem.
    • 70 Metascore
    • 75 Kate Erbland
    Materialists
    Cynical, sad, increasingly fucked up, and often gloriously mean, Song has turned the genre inside out to show us how shallow these stories can be.
    • 69 Metascore
    • 83 Kate Erbland
    Diciannove
    That Tortorici pulls this twist off is both perverse and pleasurable, and that he keeps it all feeling funny is even better.
    • 41 Metascore
    • 67 Kate Erbland
    Fountain of Youth
    Occasionally muddled, mostly convoluted, and yet still broadly entertaining, it’s a shame this glossy and big budget affair (you really can’t fake Egyptian pyramids like these), will only exist as a streaming pick on Apple TV+.
    • 52 Metascore
    • 67 Kate Erbland
    Eleanor the Great
    It adds up to a fascinating, if often baffling first effort from Johannson and Kamen, one not afraid of big emotional wallops, but not always able to carry them into truly revelatory spaces. It’s a little predictable, a little bizarre, a little funny, and very sad, but it’s also an ambitious swing at what movies can still be.
    • 73 Metascore
    • 75 Kate Erbland
    Jane Austen Wrecked My Life
    Austen fans might balk a bit at how much this one goes off-script into its own territory, but the spirit of Austen runs deep.
    • 52 Metascore
    • 75 Kate Erbland
    G20
    Mostly, G20 has two major points in its favor, right out of the gate: a super-fun premise for an action film (what if money-mad mercenaries seized the 20 most powerful leaders of the world and demanded some really insane shit?) and a star both so good and so classy that it never feels as if she’s punching below her weight class.
    • 50 Metascore
    • 67 Kate Erbland
    Snow White
    It doesn’t always fit seamlessly together, but it’s far more entertaining than that might lead on. This is a spirited and sweet spin on classic material that deserves kudos for its balance of necessary updates and affection for the old ways. Mostly, it’s a reminder of what’s actually worth considering and critiquing: the final product. This one is good.
    • 72 Metascore
    • 83 Kate Erbland
    Bridget Jones: Mad About the Boy
    Zellweger, as ever, is sterling in the role. There is no Bridget Jones without Renée Zellweger, and the force of her performance and obvious admiration for the role do plenty to skate over any off-kilter beats (a few odd subplots, Bridget’s total lack of concern around money, etc.) with effervescence and pluck.
    • 79 Metascore
    • 83 Kate Erbland
    Marlee Matlin: Not Alone Anymore
    There’s something quite moving about watching Matlin tell her own story, on her own terms.
    • 73 Metascore
    • 83 Kate Erbland
    Folktales
    We are treated to all the joys and pains of 10 transformative months, with Ewing and Grady taking us inside an experience that’s both specific and oddly universal.
    • 75 Metascore
    • 75 Kate Erbland
    Together
    In the moment, it’s hard not to get pulled into the spectacle, stuck to the story, really connected to this crowd-pleasing (and -screaming) little ditty of a midnight treat.
    • 90 Metascore
    • 91 Kate Erbland
    Sorry, Baby
    While Victor’s film might be rooted specifically in Agnes’ story and the bad thing at its center, in its specificity, there’s still tremendous room for wider recognition and and revelation.
    • 78 Metascore
    • 75 Kate Erbland
    The Ballad of Wallis Island
    The result is a cozy crowdpleaser with real heart and some lovely songs, and one that doesn’t trade honesty for predictable beats.
    • 74 Metascore
    • 75 Kate Erbland
    Omaha
    While Magaro’s performance anchors the film, strong turns from both Wright and Solis give added depth. So too does Webley and Machoian’s obvious interest in their young characters’ perspectives and experience; “Omaha” is often not just seen, but felt through their eyes.
    • 58 Metascore
    • 75 Kate Erbland
    Moana 2
    It’s always a tough ask to improve upon an original, but “Moana 2” is a sprightly addition to this sea-faring legacy. It does something nearly impossible in our sequel-glutted world: made me want further adventures. “Moana 3,” ahoy?
    • 54 Metascore
    • 75 Kate Erbland
    Spellbound
    Stories that are “timely” or “prescient” may be the norm these days, but Spellbound works a little magic to ensure that such messaging, as important as it may be, doesn’t get in the way of a good time for the entire family. That’s another thing we need now, more than ever.
    • 73 Metascore
    • 67 Kate Erbland
    Wicked
    Musicals are meant to be big, expansive, overstuffed, emotionally rich, so consuming that the concept of singing and dancing about it make all the sense in the world. Just as “Wicked” starts hitting its highest notes, it’s over. For now. For another year. And not for good.
    • 60 Metascore
    • 83 Kate Erbland
    That Christmas
    That Christmas may be holiday-centric, but its messages about community, doing good, and kindness are timeless and universal.
    • 69 Metascore
    • 75 Kate Erbland
    Martha
    If nothing else, audience members will walk away from Martha with a far greater understanding of Stewart — of all the “good things,” in her parlance, and plenty of the bad — and equal admiration and unease of what that all adds up to.
    • 82 Metascore
    • 91 Kate Erbland
    Nocturnes
    Time doesn’t stop in the world of Nocturnes, but in this introspective and captivating doc, a respite isn’t just possible, it’s imperative.
    • 77 Metascore
    • 75 Kate Erbland
    Road Diary: Bruce Springsteen and the E Street Band
    The best Springsteen songs sound as if they’ve pulled directly from his diary, and while this “Road Diary” might have a bit more polish and gloss, it’s more than worth the read and the ride.
    • 64 Metascore
    • 75 Kate Erbland
    Bonjour Tristesse
    Chew-Bose’s directorial debut is a sharp offering that adds to the mystique of the original material and makes a strong case for its own existence.
    • 76 Metascore
    • 67 Kate Erbland
    The Fire Inside
    The film still ends in rousing fashion, but it recognizes something far more profound: There are no actual conclusions in real life, even if we can feel moments of triumph throughout. It’s what next that matters.
    • 66 Metascore
    • 83 Kate Erbland
    The Last Showgirl
    The Last Showgirl is both the role of a lifetime for Anderson, one that can fully capture her incredible emotional intensity and vulnerability, and (we can only hope) the start of a brand new career for her.
    • 87 Metascore
    • 83 Kate Erbland
    Familiar Touch
    Friedland, who also wrote the film‘s script, is not given over to histrionics or blaring displays of emotion, instead asking us to follow Ruth and experience the world through her eyes. The impact is profound.
    • 58 Metascore
    • 75 Kate Erbland
    Eden
    No film about the utter demise of a supposed utopia — a real one, to boot! — and the utter infallibility of human beings should be this fun, but we’re lucky this one is.
    • 85 Metascore
    • 83 Kate Erbland
    The Wild Robot
    The result is all the good, big words we want to hear about cinema aimed at our youngest audience members: it’s heartening and true and a little sad and incredibly inspiring with a big, ol’ message about the power of community and coming together in the face of major adversity.
    • 54 Metascore
    • 67 Kate Erbland
    Nutcrackers
    We know where this is going. That doesn’t dilute the emotional power of it, of a man seeing where his heart really is and what that means in practice.
    • 70 Metascore
    • 83 Kate Erbland
    The Friend
    It’s the sort of witty, wise, and warm character study we seem to be running out of these days. And that’s just when it comes to its standout dog star, the Great Dane (emphasis on great) Bing.
    • 70 Metascore
    • 67 Kate Erbland
    My Penguin Friend
    It’s lovely, lively, and guaranteed to get kids interested in the wild world around them, all the better if that also includes some outside research into what really happened with Joao and Dindim.
    • 66 Metascore
    • 91 Kate Erbland
    Blink Twice
    You’ll laugh, you’ll gasp, you’ll have, yes, a very good time. You’ll also marvel at the introduction of a newly-minted filmmaker with a crystal-clear vision of both what the world is and what it could be, at least if the women were in charge.
    • 55 Metascore
    • 67 Kate Erbland
    The Supremes at Earl's All-You-Can-Eat
    It’s easy to get caught up in the lives and loves of the Supremes, and the warm-hearted spirit of the entire endeavor is contagious. We just wish there was a bit more time to savor it all.
    • 55 Metascore
    • 67 Kate Erbland
    Close to You
    Close to You is rife with real emotion, but the gap between vulnerability and meaning keeps everyone at arm’s length.
    • 66 Metascore
    • 75 Kate Erbland
    Dandelion
    As Riegel builds to a conclusion that feels both predictable and satisfying, Dandelion must decide how far she’s willing to go to bet on herself. More people should bet on Riegel and Layne, and fast.
    • 68 Metascore
    • 75 Kate Erbland
    A Quiet Place: Day One
    The filmmaker manages to bring much of his sensibility and overall texture to the series. Part of that is due to the nature of the prequel itself (go back to where it all began!), part of that is due to the relative freedom to build in new characters and stories, but much of it is thanks to Sarnoski’s ability to pull deep emotionality out of his stars and audience almost immediately.
    • 83 Metascore
    • 83 Kate Erbland
    Jazzy
    This is a filmmaker who knows how to tell story by showing it, and by trusting her audience to come along for the ride. How rare that has become these days.
    • 73 Metascore
    • 75 Kate Erbland
    Griffin in Summer
    As a showcase for his stellar casting abilities and knack for heartwarming storytelling, Griffin in Summer is a very fine feature directorial debut.
    • 74 Metascore
    • 75 Kate Erbland
    Backspot
    You may think you know your sports movie tropes, but you’ve never seen them used quite this way — that is, within a queer cheerleading drama firmly focused on complex female characters — and Waterson’s Backspot delights in skewing such expectations for often (but not always) new ends.
    • 62 Metascore
    • 67 Kate Erbland
    Young Woman and the Sea
    It’s good enough, rousing enough, compelling enough.
    • 69 Metascore
    • 83 Kate Erbland
    Jim Henson Idea Man
    In a documentary landscape rife with both star-fronted documentaries and other hagiographic entries, Howard leans into honesty. The film is so much better for it, even as it can’t quite capture the full magic and scope of Henson’s life and work. What could?
    • 64 Metascore
    • 67 Kate Erbland
    Turtles All the Way Down
    Scene by scene, Marks’ film plays like a traditional high school-set rom-com, but things take a turn as Aza’s illness becomes more obvious.
    • 50 Metascore
    • 75 Kate Erbland
    The Greatest Hits
    Benson, who also wrote the film’s screenplay, knows his way around heartbreak, and despite the elevated nature of the story — she time travels, for chrissakes — always finds room to add genuinely relatable elements to Harriet’s incredible plight.
    • 72 Metascore
    • 75 Kate Erbland
    Timestalker
    Lowe finds ways to make it all feel if not wholly original, at least quite fresh. You’ve heard this story before, but you’ve never seen it quite like this.
    • 66 Metascore
    • 75 Kate Erbland
    Sasquatch Sunset
    There’s a tenderness here, not just between the Sasquatches (and even then, not always just tenderness!) but for nature itself.
    • 82 Metascore
    • 91 Kate Erbland
    Ghostlight
    O’Sullivan and Thompson gently fold their story together, finding humor and heart at every turn . . . leading to the kind of ending that somehow inspired the film’s very first audience at Sundance to laugh and cry.
    • 74 Metascore
    • 67 Kate Erbland
    My Old Ass
    While some of the film’s more under-baked narrative elements might distract at times, Park and her cast still use them to build to an authentic, well-earned final act, one that should resonate with asses young and old.
    • 77 Metascore
    • 75 Kate Erbland
    Love Lies Bleeding
    It doesn’t look or feel or move like much else, all those other cinematic comparisons aside, and the sheer scope of its ambition is enough to inspire awe. Maybe the most obvious answer is the best one: love itself is a drug. So is cinema.
    • 58 Metascore
    • 75 Kate Erbland
    Mean Girls
    As familiar as much of this will feel — and as easy as it will be for even causal fans of the original to toss off word-for-word line readings of iconic scenes — the new stars that line Samantha Jayne and Arturo Perez Jr.’s film add fresh dimension to the “Mean Girls” mythos.
    • 56 Metascore
    • 67 Kate Erbland
    Migration
    It is very silly and often strange, but it’s also sweet and funny, and damn it all if you don’t start to really care about this odd little family.
    • 72 Metascore
    • 75 Kate Erbland
    The Color Purple
    There’s so much to see in The Color Purple that this critic made the rare choice to see the film twice before reviewing it. The experience deepens, in both good and bad ways, with a second watch. The performances are better — Barrino’s subtleties are easier to track, Brooks’ absolutely star-making turn is even more dazzling and heartbreaking — but the overstuffed story sags more often and more obviously.
    • 63 Metascore
    • 67 Kate Erbland
    Nyad
    It’s only in the film’s final moments that Diana realizes the power of the team, but “Nyad” would have felt just that much deeper if the film itself recognized it earlier. There’s more to “Nyad” than Diana, and there’s more to this story than swimming.
    • 47 Metascore
    • 67 Kate Erbland
    Wish
    Wish serves as a throwback to the past, a celebration of the present, and a gentle push into the future.
    • 74 Metascore
    • 75 Kate Erbland
    Plan C
    Despite the understandably emotional and deeply personal nature of Plan C’s work, Tragos’ film remains startlingly clear-eyed and concise, letting the stories she shares from abortion organizers, healthcare ambassadors, doctors, clinic workers, and patients speak for themselves.
    • 80 Metascore
    • 83 Kate Erbland
    Sleep
    Sleep is fun enough the first time out, but a second watch will likely reveal even more natty twists and smart scripting, nothing to snooze at here.
    • 83 Metascore
    • 83 Kate Erbland
    His Three Daughters
    His Three Daughters asks major questions but distills them down to this precise story, life’s biggest worries in jewel box miniature.
    • 62 Metascore
    • 75 Kate Erbland
    Sly
    Mostly, it’s Stallone who impresses here, as a disarmingly open and self-aware icon whose hardest lessons have left a mark on him.
    • 58 Metascore
    • 67 Kate Erbland
    The Equalizer 3
    If this is the end of The Equalizer, it’s a good one, a high note that overcomes confusion, complications, and convolutions to give everyone — Robert, Emma, kind-hearted Italians, the audience — a lavish adventure to remember.
    • 74 Metascore
    • 75 Kate Erbland
    Teenage Mutant Ninja Turtles: Mutant Mayhem
    The heart of “Mutant Mayhem” is pure, and the look of it is sprightly and unique, making it a worthy new addition to a franchise that clearly still has new stories to tell.
    • 80 Metascore
    • 91 Kate Erbland
    Barbie
    “Barbie” is a lovingly crafted blockbuster with a lot on its mind, the kind of feature that will surely benefit from repeat viewings (there is so much to see, so many jokes to catch) and is still purely entertaining even in a single watch.
    • 81 Metascore
    • 83 Kate Erbland
    Amanda
    In a world where everyone feels lonely, Amanda might be our most authentic avatar, someone willing to get super weird in the hopes it will lead somewhere great. For Cavalli and “Amanda,” the results speak for themselves: The film, and its titular heroine, are great indeed.
    • 64 Metascore
    • 67 Kate Erbland
    Take Care of Maya
    That sense of a story rendered incomplete, of answers we may never fully know, is at the heart of the Kowalskis’ story, but Roosevelt’s film is unable to square that with the constraints and demands of a feature film.
    • 57 Metascore
    • 75 Kate Erbland
    Extraction 2
    When this thing moves — and, wow, does it ever — it offers one of the best examples yet of what Netflix bucks can buy. It even makes off with upped emotion (including that engendered by shining a brighter spotlight on the wonderful Farahani and Bessa), a new dimension to the always-evolving Hemsworth, and proof that the action franchise can capture old thrills with new stories.
    • 55 Metascore
    • 67 Kate Erbland
    The Flash
    In its best moments, The Flash touches on something new and exciting, but too often, its the past that tugs on, keeping it from speeding ahead.
    • 86 Metascore
    • 91 Kate Erbland
    Spider-Man: Across the Spider-Verse
    And if all of this sounds like a tremendous amount to pack into a single film, there’s the rub. In a somewhat disappointing twist, “Across the Spider-Verse” isn’t really a single film, it’s instead one-half of a planned two-film sequel.
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