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.
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