Katie Rife

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IGN, IndieWire, Polygon, RogerEbert.com, The A.V. Club, TheWrap
For 545 reviews, this critic has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 0.1 points higher than other critics. (0-100 point scale)

Katie Rife's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Little Women
Lowest review score: 0 The Haunting of Sharon Tate
Score distribution:
  1. Positive: 363 out of 545
  2. Mixed: 160 out of 545
  3. Negative: 22 out of 545
545 movie reviews
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    • 80 Metascore
    • 83 Katie Rife
    The Endless
    Although The Endless works just fine as a standalone film, looking at it in the wider context of Benson and Moorhead’s work highlights another, more meta theme: the desire to return to an earlier, simpler period in one’s life, and relive those glory days forever.
    • 77 Metascore
    • 67 Katie Rife
    The Wife
    It’s Close’s wonderfully subtle characterization of Joan that lifts The Wife above its cliché setups and neat role reversals, which is really rather ironic. Once again, it’s the wife doing all the hard work. At least this time, she gets top billing.
    • 80 Metascore
    • 75 Katie Rife
    Red Rooms
    Gariépy reveals very little about her character’s state of mind in these moments, and this ambiguity is what makes “Red Rooms” so intriguing.
    • 54 Metascore
    • 67 Katie Rife
    Eddie the Eagle
    Starring Kingsman: The Secret Service’s Taron Egerton jutting out his chin and sporting oversized glasses in a concerted attempt to appear less handsome, Eddie The Eagle wears its quirkiness on its puffed sleeve.
    • 79 Metascore
    • 63 Katie Rife
    Io Capitano
    The nagging, inconvenient fly in the ointment is this: Who was this really made for — African immigrants in need of advocacy, or bureaucrats in search of Oscar glory? The answer seems to be a little of both.
    • 66 Metascore
    • 70 Katie Rife
    Dumb Money
    A quick, funny victory lap for anti-establishment Redditors and stonk enthusiasts.
    • 79 Metascore
    • 83 Katie Rife
    Feels Good Man
    Pretty darn entertaining.
    • 79 Metascore
    • 67 Katie Rife
    La Llorona
    What stands out about the film is the pain that lies underneath Bustamante’s placid compositions—an anguished desire for justice that, like the Weeping Woman herself, still cries out to be heard.
    • 79 Metascore
    • 80 Katie Rife
    Look Into My Eyes
    Subtle and intuitive, this documentary about NYC psychics asks all the right questions.
    • 79 Metascore
    • 67 Katie Rife
    Chained for Life
    A meta-commentary on filmmaking in general and cinematic conceptions of beauty in specific, the film is clearly enamored with its own cleverness—which isn’t to say that it’s not clever, just that a more clear-headed film could have distilled its ideas better, and been more satisfying as a result.
    • 79 Metascore
    • 83 Katie Rife
    Shiva Baby
    The style of humor in Shiva Baby can best be described as “sex-positive cringe,” in which the secondhand embarrassment comes less from the sexual situations themselves than our heroine’s collision with polite, conservative society.
    • 78 Metascore
    • 75 Katie Rife
    Kajillionaire
    The chemistry between Rodriguez and Wood is undeniable, and Rodriguez’s more naturalistic performance balances out her costar’s affected shuffling and deep, gravely monotone. Wood’s performance is sensitive, but it’s also silly at times.
    • 78 Metascore
    • 70 Katie Rife
    Oddity
    Oddity is an elegantly constructed tale of supernatural revenge that’s full of spine-tingling atmosphere.
    • 33 Metascore
    • 25 Katie Rife
    Fifty Shades Darker
    It’s a female-driven fantasy, for sure, but that doesn’t mean it’s not toxic. And God help the poor woman who believes it.
    • 78 Metascore
    • 75 Katie Rife
    Gloria Bell
    The slimness of the plot—and its familiarity, if you’ve seen Lelio’s original film — also allows the viewer to focus on Gloria Bell’s true raison d’être: the one and only Julianne Moore.
    • 78 Metascore
    • 75 Katie Rife
    It Comes at Night
    Maybe there’s something out there, or maybe there’s nothing at all. Most horror films presuppose that the former is the scarier of the two options, but It Comes At Night is more concerned with the seemingly bottomless depths of the unknown.
    • 78 Metascore
    • 67 Katie Rife
    Roadrunner: A Film About Anthony Bourdain
    In terms of celebrating his life by letting us soak in his impassioned, inspiring presence one more time, the film is successful. But viewers should take one more note from the man himself and not fall for easy scapegoats and trite narratives, whether they concern countries or a person who devoted his life to exploring them.
    • 78 Metascore
    • 88 Katie Rife
    Girl Picture
    While Girl Picture isn’t necessarily breaking any new ground, this sensitively rendered dramedy invites viewers into the world of three young Finnish women on the cusp of adulthood with an affection and mellow sense of humor that makes it a more than agreeable cinematic companion.
    • 78 Metascore
    • 77 Katie Rife
    The People's Joker
    In an age where corporate IP has become a de facto religion in global cinema culture, The People’s Joker is a blasphemous Molotov cocktail of a movie, with a unique and valuable point of view. And it’s hilarious, too.
    • 78 Metascore
    • 75 Katie Rife
    Nirvanna the Band the Show the Movie
    Nirvanna The Band The Show The Movie is so affable, so good-natured, so modest—just so gosh-darned charming—that it’s difficult not to crack at least a little bit of a smile while watching it.
    • 78 Metascore
    • 75 Katie Rife
    Dead Mail
    Dead Mail’s quirkiness never grows tiresome, which is impressive.
    • 78 Metascore
    • 75 Katie Rife
    Frankenstein
    Del Toro’s love for the grotesque and the abject is sincere and passionate, and there are scenes in Frankenstein that play like thesis statements for the director’s entire career.
    • 78 Metascore
    • 83 Katie Rife
    The Substance
    It’s animated by a white-hot rage that escalates throughout its epic 140-minute run time, building to a jaw-droppingly audacious climax that sprays a firehose of blood at the audience. It’s demented and absurd in the best way possible.
    • 78 Metascore
    • 75 Katie Rife
    Nosferatu
    There are moments of genuine horror and genuine artfulness in Nosferatu, neither of which would have been possible if the writer-director had approached the project with tongue in cheek. But at two hours and 12 minutes, it’s a solemn death march towards an inevitable conclusion—which fits the theme, but strains the limits of audience engagement.
    • 77 Metascore
    • 70 Katie Rife
    Longlegs
    There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.
    • 77 Metascore
    • 75 Katie Rife
    Mile End Kicks
    Ferreira is a believable and sympathetic protagonist, bringing a vulnerability to Grace that makes the viewer root for her even as she blows up her life for reasons even she doesn’t seem to understand.
    • 77 Metascore
    • 75 Katie Rife
    Babyteeth
    As that ending approaches, the tone shifts from dark comedy to sentimental drama, adding a maudlin aftertaste to an otherwise appealingly bitter brew.
    • 57 Metascore
    • 50 Katie Rife
    Burden
    Overly simplistic piece of Southern poverty porn, which asks questions it’s not really prepared to answer and proceeds from a set of dubious assumptions that undermine whatever nuance it does possess.
    • 77 Metascore
    • 75 Katie Rife
    Dead Lover
    Dead Lover is daring you to take it seriously, or perhaps distracting you with a goofy dance while it quietly queers the “Frankenstein” myth.
    • 77 Metascore
    • 88 Katie Rife
    The Feeling That the Time for Doing Something Has Passed
    Joanna Arnow’s second feature is a symphony of ambient embarrassment, whose movements are structured around the various men with whom the protagonist, Ann (Arnow), has relationships of varying length and ambivalence. Within these movements, Arnow hits uncomfortable notes that range from cutting corporate indignities to the ritualized abjection of erotic humiliation.
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