Katie Rife

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IGN, IndieWire, Polygon, RogerEbert.com, The A.V. Club, TheWrap
For 544 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 0.2 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: 362 out of 544
  2. Mixed: 160 out of 544
  3. Negative: 22 out of 544
544 movie reviews
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    • 77 Metascore
    • 80 Katie Rife
    Love Lies Bleeding
    Love Lies Bleeding combines intense lesbian sexuality with shocking, graphic violence for a film that really gets the blood pumping. Kristen Stewart embodies her dirtbag character with the jumpy physicality she does so well, and her chemistry with co-star Katy O’Brian is powerful. The film loses focus as it escalates to hysterical heights in its second half, but its pulpy, fetishistic pleasures are potent.
    • 86 Metascore
    • 90 Katie Rife
    I Saw the TV Glow
    Astonishingly beautiful and vulnerable, I Saw the TV Glow's surreal art-horror speaks to lonely teenagers, past and present.
    • 77 Metascore
    • 67 Katie Rife
    Presence
    The problem is that, while the film is conceptually solid, its story gets shakier as it goes along.
    • 43 Metascore
    • 60 Katie Rife
    Night Swim
    Night Swim effectively exploits primal fears around water, but its comedy and horror chops aren’t strong enough to keep it from drowning in its more clichéd elements.
    • 73 Metascore
    • 70 Katie Rife
    Concrete Utopia
    Concrete Utopia is a polished disaster drama with a bleak and brutal view of human nature.
    • 46 Metascore
    • 60 Katie Rife
    Lord of Misrule
    While Lord of Misrule has its moments, blending folk horror, possession, and murder mystery isn’t enough to make this saggy film pop.
    • 71 Metascore
    • 75 Katie Rife
    Frybread Face and Me
    Pickles in a bag, runaway sheep, dusty roads, the same movie over and over until the tape wears out—these are the sense memories that remind the filmmaker who he is and where he comes from. To share it with the world in this way is an act of profound generosity and love.
    • 81 Metascore
    • 80 Katie Rife
    Godzilla Minus One
    A rousing, spectacle-filled blockbuster, Godzilla: Minus One takes the king of the monsters back to his roots in post-WWII Japan. The story is character-driven, but the monster scenes are exciting and effective.
    • 52 Metascore
    • 60 Katie Rife
    It's a Wonderful Knife
    Solid fundamentals make It’s a Wonderful Knife an enjoyable Christmas slasher, although not as inspired as the writer Michael Kennedy’s previous work.
    • 64 Metascore
    • 58 Katie Rife
    Your Lucky Day
    Your Lucky Day moves along at an engaging pace throughout, although it doesn’t reach its brutal potential as a thriller until two-thirds of the way through. Up to that point, it’s burdened by clumsy repetition of its central theme.
    • 74 Metascore
    • 80 Katie Rife
    Dream Scenario
    Nicolas Cage plays a mediocre stand-in for all 'canceled' men in this provocative cringe comedy, driven by a sharp screenplay and subtly surreal filmmaking.
    • 31 Metascore
    • 25 Katie Rife
    Pet Sematary: Bloodlines
    Somehow, the film’s 1674 is more convincing than its 1969, and the ideas being worked out in that brief segment are more compelling than the ones that make up the core narrative. But then it’s buried, and it doesn’t come back. Pity, that’s one time when resurrection would have been helpful.
    • 65 Metascore
    • 67 Katie Rife
    The Toxic Avenger
    In Blair’s The Toxic Avenger, the side gags are the film. The rest of it is the filler.
    • 66 Metascore
    • 70 Katie Rife
    Dumb Money
    A quick, funny victory lap for anti-establishment Redditors and stonk enthusiasts.
    • 74 Metascore
    • 67 Katie Rife
    Woman of the Hour
    Kendrick’s image as an actor isn’t necessarily tied to dark, edgy material, but as a director she shows a talent for staging scenes of Hitchcockian suspense alongside her signature wit.
    • 45 Metascore
    • 50 Katie Rife
    The Good Mother
    As it is, The Good Mother starts with a gunshot and ends with a whimper.
    • 54 Metascore
    • 70 Katie Rife
    Sympathy for the Devil
    Nicolas Cage’s live-wire performance fuels a compelling, if predictable, crime thriller.
    • 45 Metascore
    • 50 Katie Rife
    Insidious: The Red Door
    Callbacks to other “Insidious” films are half-hearted, and “The Red Door” seems to give up on trying to make all of the pieces fit after a while. What does work are a handful of scares in the film’s first half.
    • 67 Metascore
    • 75 Katie Rife
    Sanctuary
    This is a film fueled by writing and performance. Writer Micah Bloomberg’s script ingeniously incorporates the movie’s themes into its structure, and Qualley and Abbott—but especially Qualley—playfully keep the audience guessing throughout.
    • 56 Metascore
    • 60 Katie Rife
    Fast X
    Fast X suffers from the same condition as latter-day MCU movies, where it’s so laden with internal mythology that it feels more like homework than popcorn entertainment.
    • 45 Metascore
    • 63 Katie Rife
    The Mother
    Like most Netflix movies, no matter what The Mother would be a perfectly serviceable thing to have on in the background while you tidied the living room or answered emails on your phone. The spy-movie setup is generic enough to follow while doing something else, and the villains’ motivations are only as specific as the plot needs them to be, which is to say not very specific at all.
    • 70 Metascore
    • 75 Katie Rife
    Plan 75
    These character arcs play out in subtle, naturalistic ways, with restrained performances that underline the tension between the film’s polite surface and unsettling subtext.
    • 63 Metascore
    • 75 Katie Rife
    Money Shot: The Pornhub Story
    It’s titillation with a side of radicalization. And if any teenagers whose folks have installed parental controls on their computers do watch this documentary late at night with the volume turned down, they’ll learn more about workers seizing the means of production than they learn about sex — which is far more dangerous to the powers that be than any bare breasts or asses.
    • 76 Metascore
    • 88 Katie Rife
    The Worst Ones
    This is one of those movies that shows rather than tells—always preferable, even in the moments when the big picture is still coming into focus.
    • 69 Metascore
    • 75 Katie Rife
    Evil Dead Rise
    Once it gets out of its own way and gives the audience what they came to see, Evil Dead Rise is an absolute blast.
    • 73 Metascore
    • 75 Katie Rife
    Unicorn Wars
    As Vázquez keeps adding elements in its last half hour, Unicorn Wars starts to feel like the beginning of a trilogy, or maybe a TV series that got canceled unexpectedly and had to wrap up its storyline in a handful of episodes.
    • 22 Metascore
    • 35 Katie Rife
    Children of the Corn
    While it isn’t the worst film the franchise has to offer, that’s only because the competition is so weak.
    • 76 Metascore
    • 83 Katie Rife
    I Like Movies
    Making her feature debut, writer-director Chandler Levack has pulled off a rare trick here by making a movie that feels warm and safe without coddling its protagonist.
    • 73 Metascore
    • 63 Katie Rife
    Palm Trees and Power Lines
    These events unfold with a sense of sickening inevitability, and when the scenes we all know are coming finally come, they’re as icky and hard to watch as they should be. But beyond simple documentation, the movie’s intentions are fuzzy.
    • tbd Metascore
    • 38 Katie Rife
    My Happy Ending
    Experienced performers take the film partway, but the script kneecaps everyone—especially MacDowell, who suffers the worst of the film’s dialogue-based indignities. Happy or not, you might find yourself wishing it would end already.
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