Katherine McLaughlin

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Little White Lies
For 20 reviews, this critic has graded:
  • 50% higher than the average critic
  • 0% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Katherine McLaughlin's Scores

  • Movies
  • TV
Average review score: 73
Highest review score: 80 Ultras
Lowest review score: 60 Together
Score distribution:
  1. Positive: 16 out of 20
  2. Mixed: 4 out of 20
  3. Negative: 0 out of 20
20 movie reviews
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    • tbd Metascore
    • 80 Katherine McLaughlin
    Ultras
    Running at just under 90 minutes, the film Ekner has crafted not only examines the politics and socioeconomics of each country she visits, but also channels the atmosphere of each locale via potent vistas and exhilarating revelry. The danger she speaks of early on in the film is expressed as a looming threat, yet the final result yields the same mood of a wildly passionate love affair.
    • tbd Metascore
    • 70 Katherine McLaughlin
    Broken English
    George MacKay is the Record Keeper, in charge of interrogating Faithfull, and she very candidly speaks about her life in her own words in order to decipher the gulf between who she really was and how she was marketed.
    • 72 Metascore
    • 80 Katherine McLaughlin
    Is This Thing On?
    The actors’ effervescent chemistry powers the film along wonderfully.
    • 66 Metascore
    • 70 Katherine McLaughlin
    Roofman
    Watching Tatum flex both his comedic muscles (especially when it comes to slapstick) and dramatic chops is utterly endearing and he deserves kudos for this performance. Cianfrance takes a daring swerve away from his usual melancholic working- class love stories, such as the powerful anti-romance Blue Valentine, to deliver a comedy that delivers big laughs and the occasional thrill.
    • 75 Metascore
    • 60 Katherine McLaughlin
    Together
    It’s a shame Together doesn’t lean into the humour more, as that’s what really sets it apart from other disturbing body horror with similar DNA.
    • 75 Metascore
    • 80 Katherine McLaughlin
    Bring Her Back
    Nearly every character in Bring Her Back is drowning in the depths of despair and desperately clinging on for dear life. Some flail and give into their worst instincts, some sink into oblivion, and others break the waves of grief and cruelty, albeit emerging with terrible scars.
    • 78 Metascore
    • 70 Katherine McLaughlin
    The Ballad of Wallis Island
    It may be a tad uneven and repetitive in places but it’s also enjoyably sweet and silly.
    • 69 Metascore
    • 60 Katherine McLaughlin
    Hallow Road
    Playing out as part psychological chiller and part supernatural horror, it navigates parental fears and family secrets in a sinister liminal space.
    • 65 Metascore
    • 70 Katherine McLaughlin
    The End
    Where the film really sings, however, is in its depiction of buried guilt and false hope. The beating heart of it develops through MacKay’s performance of pure naivety and his burgeoning relationship with Ingram’s Girl.
    • 85 Metascore
    • 80 Katherine McLaughlin
    A Real Pain
    A Real Pain may set out its stall as an empathetic tour of pain, effortlessly exposing the quiet and chaos of the human condition through its multiple characters and the places they visit, but it is also distinctly a film about the boundaries and limits of love.
    • 72 Metascore
    • 80 Katherine McLaughlin
    The Outrun
    What translates well from the novel is the specificity of the setting. All the details about birds, nature and Celtic mythology of the islands are either narrated by a spellbinding Ronan or portrayed creatively through animation. Fingscheidt also balances the cliché associated with films about addiction with humour and magnificent detail.
    • 80 Metascore
    • 80 Katherine McLaughlin
    Gasoline Rainbow
    It amounts to more than just ‘a heap of broken images’ – it’s a warming depiction of friendship as family.
    • 79 Metascore
    • 70 Katherine McLaughlin
    Io Capitano
    The superb casting of the two lead co-stars, who were only told the outcome of their characters storylines on the day of shooting, really buoys the film.
    • tbd Metascore
    • 80 Katherine McLaughlin
    The Last Year of Darkness
    Pain, pleasure, the desperate urgency to express yourself and the sincerity of youth coalesce to electrifying ends.
    • 72 Metascore
    • 80 Katherine McLaughlin
    Eileen
    It is at times chilling, morally reprehensible and frightening, but it also proves to be liberating for the central character.
    • 58 Metascore
    • 70 Katherine McLaughlin
    Victoria and Abdul
    For the most part, though, Frears and co poke fun at the monarchy and do a decent job at presenting the complex relationship between India and England.
    • 67 Metascore
    • 60 Katherine McLaughlin
    Monsters and Men
    It starts an important discussion but doesn’t dig deep enough.
    • 76 Metascore
    • 80 Katherine McLaughlin
    Talk to Me
    This is uncompromising horror that perceptively taps into contemporary life with visual flair and smarts.
    • 70 Metascore
    • 70 Katherine McLaughlin
    Rodeo
    The film rarely lets up thanks to a combination of Ledru’s dynamic turn, kinetic camerawork with breathless tracking shots along open roads and impressively choreographed action sequences packed full of thrilling bike and quad stunts.
    • 59 Metascore
    • 60 Katherine McLaughlin
    A Banquet
    Paxton is masterful at creating an atmosphere of dread, using precise framing and powerful chiaroscuro lighting to toy with symbolism from Japanese folklore, Greek mythology and modern art.

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