Katie Walsh

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Chicago Tribune, Los Angeles Times, St. Louis Post-Dispatch, The Playlist, The Seattle Times, TheWrap
For 1,344 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 Can You Ever Forgive Me?
Lowest review score: 0 Father Figures
Score distribution:
  1. Positive: 794 out of 1344
  2. Mixed: 378 out of 1344
  3. Negative: 172 out of 1344
1344 movie reviews
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    • 77 Metascore
    • 88 Katie Walsh
    A Secret Love
    A Secret Love doesn't dwell much on queer history or activism, as laser-focused as it is on Terry and Pat, and the bond between them. The film beautifully illustrates each of their spirits: the sweet and bubbly Terry, always ready with a signed baseball card, and the stern and protective Pat, who only lets her guard down under duress, but wrote pages of love poems to Terry, and still asks for a morning kiss from her love.
    • 69 Metascore
    • 75 Katie Walsh
    Selah and The Spades
    It's arresting to behold, but it almost seems to run out of steam at a certain point. But for any of its story flaws, Selah and the Spades is so tonally and aesthetically indelible, it announces the arrival of an exciting new cinematic voice in Poe, and cements Lovie Simone as a bona fide movie star.
    • 41 Metascore
    • 50 Katie Walsh
    Bad Therapy
    As the film turns toward black comedy, mystery and horror, away from social mocking, it becomes far more compelling.
    • 60 Metascore
    • 63 Katie Walsh
    Sea Fever
    Sea Fever only momentarily touches the highest registers of operatic bloody horrors and outlandish fantasy sci-fi. Rather, it remains in the realm of the moral, the ethical, the human-scaled losses and decisions, which makes for just as, if not more, torturous personal quandaries. It's an absorbing (if sometimes muted) wrestle with the notions of ethics and infection, in a moment that couldn't be more appropriate.
    • 67 Metascore
    • 50 Katie Walsh
    Lost Girls
    Though the film eventually gets to where it needs to go, it feels scattered, stumbling over true crime tropes on the way.
    • 44 Metascore
    • 50 Katie Walsh
    Bloodshot
    Predictably, it descends into a meaningless blur of gravity-defying physics and robotic limbs by the end, where a lot of violence is happening but you’re never sure exactly why or even how.
    • 52 Metascore
    • 75 Katie Walsh
    Greed
    It’s arresting, but the rapid shift in tone could give one whiplash.
    • 83 Metascore
    • 90 Katie Walsh
    Saint Frances
    Anchored by delicately moving performances from O’Sullivan and the amazing Williams, Saint Frances is a quietly riveting film that slowly but surely draws you in.
    • 48 Metascore
    • 63 Katie Walsh
    The Call of the Wild
    There isn't much nuance or complexity to be found in The Call of the Wild, but it's an old-fashioned animal-friendly adventure flick for kids, a modern-day and high-tech “Benji” based on a classic piece of literature.
    • 47 Metascore
    • 70 Katie Walsh
    Sonic the Hedgehog
    Sonic the Hedgehog is legitimately funny, heartwarming and entertaining.
    • 54 Metascore
    • 60 Katie Walsh
    To All the Boys: P.S. I Still Love You
    The real draw to the “To All The Boys” cinematic universe is the connection between Condor and Centineo, who have intoxicating chemistry, keeping things interesting as “P.S. I Still Love You” ambles to its inevitable conclusion. They bring the charm, but one wishes it had a more exciting movie to support it.
    • 49 Metascore
    • 63 Katie Walsh
    Downhill
    The themes that are unspoken, gestured at and repressed in “Force Majeure” are drawn out and made broad, obvious and slapstick in Downhill, which spoon-feeds the lessons of the dark-ish comedy and cuts short the plot for the easiest-to-digest ending.
    • 61 Metascore
    • 70 Katie Walsh
    Horse Girl
    Ostensibly, this is a tragedy about mental illness, and the way that someone can slip through the cracks in society without family, friends and a network of support. But Horse Girl is far more subversive and playful than just that, allowing for Sarah’s peculiar reality to envelope our own.
    • 60 Metascore
    • 75 Katie Walsh
    Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Christina Hodson’s script is a madcap, irreverent roller coaster ride, the story relayed in a loopy, looping, nonlinear fashion through Harley’s hyperactive storytelling style.
    • 45 Metascore
    • 60 Katie Walsh
    The Rhythm Section
    The willingness to let Stephanie be human and react as such brings a sense of reality and authenticity back to the action-spy genre, which has become too slick.
    • 35 Metascore
    • 75 Katie Walsh
    The Turning
    It may not work for everyone, but those for whom it works will find much to savor and puzzle over in The Turning.
    • 51 Metascore
    • 63 Katie Walsh
    The Last Full Measure
    What The Last Full Measure demonstrates is how powerful it can be to shed light on these experiences, through testimony, bearing witness and yes, ceremonial recognition.
    • 51 Metascore
    • 63 Katie Walsh
    The Gentlemen
    The Gentlemen is so blinkered by its outdated (and often offensive) alpha male perspective that it's blind to the elements that could have made it great.
    • 26 Metascore
    • 20 Katie Walsh
    Dolittle
    Do little? They could not have done less. The only appropriate adjective for this Dolittle is “hasty.” Everything feels slapdash and half-rendered; the plot proceeds in a fashion that could be described only as perfunctory. Everyone on screen seems to be in a stumbling daze, especially Downey as the frazzle-dazzled doctor.
    • 33 Metascore
    • 30 Katie Walsh
    Like a Boss
    If there’s one word to describe the girl-power comedy “Like a Boss,” it’s incomprehensible. Structurally, industrially, philosophically and emotionally incomprehensible. What should have been an easy breezy buddy comedy is rather a flabbergasting tone salad.
    • 48 Metascore
    • 63 Katie Walsh
    Underwater
    Underwater never quite breaches the surface from good to great, though this well-appointed creature feature proves to be an excellent showcase for Stewart’s screen presence.
    • 54 Metascore
    • 63 Katie Walsh
    Spies in Disguise
    A strange tonal mashup that turns the hypermasculine and hyperviolent world of glamorous spies, in the vein of James Bond or “Mission: Impossible,” and turns it into kid-friendly family entertainment.
    • 58 Metascore
    • 63 Katie Walsh
    Jumanji: The Next Level
    The pleasures of Jumanji: The Next Level are not visual or story-based, as they revolve around the ability of each of our stars and their abilities to do impressions.
    • 45 Metascore
    • 30 Katie Walsh
    A Million Little Pieces
    Nothing on screen is as electrifying or surprising as it was on the page, as semi-fictionally enhanced as the writing was.
    • tbd Metascore
    • 50 Katie Walsh
    My Friend the Polish Girl
    The film poses half-formed thoughts about femininity through the lens of nationality, immigration, work, creativity and money, but ultimately the only profound thing it manages to say is on the nature of exploitation between subject and author. A fascinating albeit frustrating sketch on the topic.
    • 74 Metascore
    • 88 Katie Walsh
    Queen & Slim
    Whipsawing between hope and devastation, Queen & Slim speaks to this specific cultural moment. It's not with a grounded realism, but with an almost operatic sense of melodrama, in the writing, performances and with Matsouka's daring cinematic style, where beauty and politics are inextricably intertwined.
    • 51 Metascore
    • 63 Katie Walsh
    21 Bridges
    With scanty and thin characterization and a twist you can see coming from miles away, 21 Bridges just doesn't make it all the way to the other side.
    • 61 Metascore
    • 70 Katie Walsh
    Shooting the Mafia
    Longinotto’s film is a rollicking depiction of the wonderfully self-possessed Battaglia.
    • 55 Metascore
    • 63 Katie Walsh
    The Good Liar
    The Good Liar takes its sweet time to pick up steam and pulls its punches in places where it could have been even darker and more daring. Erring on the side of caution isn’t exactly the approach one should take when it comes to suspense thrillers.
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