Katie Walsh

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Chicago Tribune, Los Angeles Times, St. Louis Post-Dispatch, The Playlist, The Seattle Times, TheWrap
For 1,358 reviews, this critic has graded:
  • 64% higher than the average critic
  • 6% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 2.1 points lower than other critics. (0-100 point scale)

Katie Walsh's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 jackass: best and last
Lowest review score: 0 Father Figures
Score distribution:
  1. Positive: 806 out of 1358
  2. Mixed: 380 out of 1358
  3. Negative: 172 out of 1358
1358 movie reviews
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    • 85 Metascore
    • 100 Katie Walsh
    The Novice
    Hadaway’s previous career as a sound editor is all over this piece, as is her personal experience as a collegiate rower. She has crafted this film as catharsis, and like her protagonist’s journey, it’s both harrowing and triumphant.
    • 60 Metascore
    • 75 Katie Walsh
    House of Gucci
    House of Gucci is Gaga’s movie, and she won’t let you forget it. She delivers a bravura performance as Patrizia, an alchemical blend of sheer charisma, power of personality, undeniable magnetism, and most importantly, commitment to the bit.
    • 75 Metascore
    • 80 Katie Walsh
    Encanto
    It’s a simple but resonant tale, but Encanto is a charmed and charming film that just might offer a bit of healing too.
    • 80 Metascore
    • 90 Katie Walsh
    Paper & Glue
    When JR turns his gaze toward a person and pastes their image on a wall, he’s inviting others not just to participate in this project but also to look their way, to pay attention to someone or something by seeing it differently in the world. It takes a village, but all they need is paper and glue.
    • 75 Metascore
    • 80 Katie Walsh
    Cusp
    Like any good sunset, the beauty to be found in “Cusp” is in between the darkness and the light, in the almost imperceptible shades of gray. Most important, it’s found in the bonds the girls have with each other.
    • 55 Metascore
    • 63 Katie Walsh
    Clifford the Big Red Dog
    Clifford the Big Red Dog has a decidedly innocent throwback appeal.
    • 61 Metascore
    • 70 Katie Walsh
    Violet
    Utilizing such overt stylization of a high-concept approach, Violet is a bit of a one-trick pony. But Bateman, as well as Munn, manage to pull it off in a feature-length format, and Violet’s eventual hard-earned redemption is deeply satisfying.
    • 65 Metascore
    • 70 Katie Walsh
    Last Night in Soho
    This visual and aural feast does have a stumble or two on the dance floor, though in the 11th hour, Wright manages to right the ship, with an assist from the ever-reliable Taylor-Joy.
    • 57 Metascore
    • 50 Katie Walsh
    Antlers
    This dark and dreary monster movie is indeed horrific, but it’s also undoubtedly a downer, for more reasons than likely intended.
    • 75 Metascore
    • 50 Katie Walsh
    The French Dispatch
    If he is trying to say something (and it’s unclear what that might be), all of the fuss and muss obfuscates any message, and even worse, any emotional connection to the film. This latest dispatch is indeed a profound disappointment.
    • 42 Metascore
    • 38 Katie Walsh
    Halloween Kills
    In trying to do too much, Halloween Kills ends up doing nothing at all, other than tarnishing this franchise’s good name.
    • 82 Metascore
    • 80 Katie Walsh
    Found
    For an adoptee, the notion of “family” is so much more complicated and layered than it might be for someone else, but what Found powerfully argues is that within these many layers, there is an abundance of a unique kind of love, and understanding, to be found. You just have to look for it.
    • 68 Metascore
    • 80 Katie Walsh
    Lamb
    It’s a different register for Rapace, who remains controlled, with a few explosions of emotion. But she is present and instinctual, imbuing Maria with a steely but soft power: decisive, persuasive and feminine.
    • 37 Metascore
    • 38 Katie Walsh
    The Addams Family 2
    The Addams Family 2 feels as if it’s lost the spark of the first one. The jokes that felt fresh in the first film are stale here, with the story’s twists glaringly predictable.
    • 57 Metascore
    • 70 Katie Walsh
    Birds of Paradise
    Seth’s cinematography is stunning, meeting the mood of each contrasting moment but set within a cohesive look that gives the film a dreamy, unreal quality.
    • 78 Metascore
    • 80 Katie Walsh
    I'm Your Man
    The ending is ambiguous enough to be refreshingly un-clichéd. While “I’m Your Man” is very romantic in its own way, the movie is elevated by pondering not just love but life and our impending relationship to advanced artificial intelligence, a question that is surely already upon us.
    • 39 Metascore
    • 38 Katie Walsh
    Dear Evan Hansen
    The effort put into making this film work is palpable, but the result is something deeply surreal and strange. Perhaps this story simply can’t work as a film, or perhaps it wasn’t a very good musical to begin with. It’s a question that may be debated for years to come.
    • 60 Metascore
    • 70 Katie Walsh
    The Nowhere Inn
    Layered storytelling that tests the limits of the screen and the fourth wall allows for Clark and Brownstein to play at playing themselves, making for a sharp, comedic commentary on the way fame complicates identity.
    • 58 Metascore
    • 75 Katie Walsh
    Blue Bayou
    As Chon calibrates a wide variety of emotions, allowing space for all the agonies, ecstasies, repressions and excesses, he crafts a tale of intergenerational traumas and personal redemptions that is an emotionally complicated yet ultimately cathartic viewing experience.
    • 45 Metascore
    • 30 Katie Walsh
    Queenpins
    Queenpins does nothing other than waste your time with bad wigs and poop jokes, and that is the biggest crime of all.
    • 41 Metascore
    • 40 Katie Walsh
    Cinderella
    It’s underwritten yet over-stuffed with songs, and the production itself feels chintzy and airless.
    • 67 Metascore
    • 80 Katie Walsh
    No Man of God
    No Man of God is impeccably and carefully directed by Sealey, and the craft on display is remarkable.
    • 72 Metascore
    • 90 Katie Walsh
    Candyman
    DaCosta, who made her directorial debut with the remarkable abortion drama “Little Woods,” firmly announces herself as an artist at work with Candyman, a genuinely terrifying and artful horror film that speaks with a bell-clear voice to the current moment, the product of centuries of racist power structures.
    • 46 Metascore
    • 60 Katie Walsh
    Reminiscence
    The modern noir style and genre innovation are such a neat cinematic twist that it’s a bit of a letdown that the world doesn’t always feel fully fleshed out.
    • 71 Metascore
    • 80 Katie Walsh
    Ema
    Larraín crafts a mesmerizing cinematic rhythm that alternates between montage and slow camera movements; the film’s push-pull tempo mimics that of Ema’s own intimate machinations.
    • 62 Metascore
    • 50 Katie Walsh
    Free Guy
    Reynolds is a bit too glib and smug to buy as the romantic lead. It’s actually a relief that the movie salvages the romance by relegating it to the game world. But the whole film remains a bit too glib and smug anyway.
    • 48 Metascore
    • 70 Katie Walsh
    Jolt
    Written by Scott Wascha, the script is simultaneously crude, rude and whip-smart. Wexler‘s direction is a rapid-fire attack of highly stylized skirmishes and aestheticized action.
    • 68 Metascore
    • 80 Katie Walsh
    Paper Spiders
    Taylor plays Dawn’s slide into this mental health crisis beautifully, and with conviction, and Owen is stunning as the high-achieving, yet fragile Melanie, who seeks oblivion and solace in a risky boyfriend (Ian Nelson).
    • 54 Metascore
    • 63 Katie Walsh
    Joe Bell
    Joe Bell is a tale of emotional redemption for a man who relearns what it means to “be a man,” and his moments of triumph are the quietest ones.
    • 36 Metascore
    • 38 Katie Walsh
    Space Jam: A New Legacy
    It wants to comment on the algorithms that rule our lives, spewing constantly recycled content at us seemingly at random, but it is exactly the thing that it points to: an upcycled Frankenstein’s monster of intellectual property spraying a stew of Easter eggs and Halloween costumes at the viewer, praying that something sticks.
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