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Kate Erbland

Kate Erbland
Kate Erbland's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Boxoffice Magazine, Film.com, indieWire, Film School Rejects, The Playlist, MSN Movies, The Dissolve

Movie Reviews Only

Rating T-Meter Title | Year Review
B+ 91% Ralph Breaks the Internet (2018) It's funny and absorbing, and Moore and Johnston unload some real zingers for the internet age (their interpretation of a comments section will speak to anyone who works on the 'net, chilling to the bone). ‐ indieWire
Read More | Posted Nov 14, 2018
C+ 55% Fantastic Beasts: The Crimes of Grindelwald (2018) "The Crimes of Grindelwald" is hampered by the unwieldy meshing together of disparate plots that could service their own films.‐ indieWire
Read More | Posted Nov 8, 2018
C+ 41% The Girl in the Spider's Web (2018) Lisbeth is never going to be cuddly or sunny, but that doesn't mean she has to be robotic or impossible to read. That's something that Foy and Alvarez clearly understand, and the result is a heroine not only worth cheering for, but one worth loving.‐ indieWire
Read More | Posted Oct 24, 2018
C+ 100% A Moment in the Reeds (2017) Underneath all the kiddie stuff, there's real terror. It just needs to be unleashed a bit more the next time around.‐ indieWire
Read More | Posted Oct 10, 2018
C+ 48% Goosebumps 2: Haunted Halloween (2018) Sandel's sequel adheres so closely to the first film's story arc - a bunch of monsters dreamed up by author R.L. Stine come to life and terrorize a small town and some plucky kids - that it removes the possibility of any surprises.‐ indieWire
Read More | Posted Oct 10, 2018
C- 33% Little Women (2018) Most damning is that Niederpruem fails to engage with her central, powerful idea. Despite setting Little Women in modern times, the film is disinterested in using the new period to explore the bigger questions at the heart of Alcott's novel. ‐ indieWire
Read More | Posted Sep 27, 2018
B- 71% Greta (2018) A "bad" movie that's made suddenly good by the involvement of a game audience and Jordan allowing Huppert to go certifiably batshit on a doe-eyed Moretz.‐ indieWire
Read More | Posted Sep 21, 2018
B- 90% The Weekend (2018) Meghie is adept at sliding between subplots and mixing her characters into talky combinations, all the better to maximize the film's slim 86-minute running time, but it's Zamata and her Zadie who steal nearly every moment.‐ indieWire
Read More | Posted Sep 21, 2018
D 13% Life Itself (2018) It's a movie made for people who can't be trusted to understand any storytelling unless it's not just spoon-fed but ladled on, piled high, and explained via montage and voiceover. ‐ indieWire
Read More | Posted Sep 21, 2018
B 100% Maiden (2018) While Maiden is satisfying on its own, it's tailor-made for a remake that can dive deeper into a story that has so much life left in it.‐ indieWire
Read More | Posted Sep 19, 2018
C+ 85% A Simple Favor (2018) A Simple Favor is compulsively watchable, a downmarket spin on Gone Girl and The Girl on the Train that is enthralling mostly because it's never clear what the hell is going to happen next.‐ indieWire
Read More | Posted Sep 10, 2018
B+ 96% The Hate U Give (2018) It's a film that contains multitudes, and only asks for a world willing to do the same.‐ indieWire
Read More | Posted Sep 9, 2018
B 46% Destination Wedding (2018) Most of all, "Destination Wedding" makes the case that the two-hander isn't dead, even if it struggles a bit when forced to come to a neat, movie-ready conclusion.‐ indieWire
Read More | Posted Aug 30, 2018
B 96% To All the Boys I've Loved Before (2018) To All the Boys keeps a tight grip on the formula of every rom-com and adapts it for the younger set.‐ indieWire
Read More | Posted Aug 15, 2018
B+ 92% Crazy Rich Asians (2018) A loving take on Kwan's books, bundled up in a wildly entertaining package.‐ indieWire
Read More | Posted Aug 8, 2018
B+ 100% Night Comes On (2018) Fortunately, Night Comes On continues to dial back its sense of drama for its long-awaited final confrontations, which offer open endings that hint at a future worth pursuing. ‐ indieWire
Read More | Posted Aug 2, 2018
C+ 17% The Darkest Minds (2018) Director Jennifer Yuh Nelson's live-action debut contains all the hallmarks of the kind of film that could have done brisk business five years ago, but now seems doomed to join other one-offs.‐ indieWire
Read More | Posted Jul 31, 2018
B- 81% Mamma Mia! Here We Go Again (2018) It's the rare rehash that works.‐ indieWire
Read More | Posted Jul 17, 2018
B+ 90% Set It Up (2018) Set It Up is a classic rom-com brought to life by a pair of wonderfully well-matched stars who seem to revel in the genre. This is cinematic comfort food, the kind we've been starving for.‐ indieWire
Read More | Posted Jun 15, 2018
B- 68% Ocean's 8 (2018) We want to spend time with these characters, and when the film switches into heist mode, "Ocean's 8" loses sight of the women who drive it, opting to focus on a heist that's fun, but not nearly as fun as watching the characters prepare for it.‐ indieWire
Read More | Posted Jun 5, 2018
D 13% The Kissing Booth (2018) In another film, the sentiment would be a romantic one. In The Kissing Booth, it feels like a cage.‐ indieWire
Read More | Posted May 31, 2018
B 70% Ibiza (2018) Nevertheless, "Ibiza" smartly plays with narrative expectations to deliver a film that's both very funny and filled with genuine girl power.‐ indieWire
Read More | Posted May 22, 2018
C+ 53% Book Club (2018) It's light entertainment meant to be shared, a big glass of summer fun that goes down easy.‐ indieWire
Read More | Posted May 16, 2018
B+ 70% Solo: A Star Wars Story (2018) It may be a prequel, and it may ostensibly stand alone, but it fits into the wider galaxy with ease.‐ indieWire
Read More | Posted May 15, 2018
B 83% Deadpool 2 (2018) Wisecracking and fourth wall-breaking as ever.‐ indieWire
Read More | Posted May 14, 2018
B- 84% Pope Francis - A Man of His Word (2018) One of Pope Francis' closing messages rings out, undiluted by a muddled conclusion: "We have so much to do, and we must do it together."‐ indieWire
Read More | Posted May 14, 2018
C- 26% Breaking In (2018) By not making a whole movie worthy of what Union is throwing down, it features a breakout wrapped up in a break-in.‐ indieWire
Read More | Posted May 10, 2018
C+ 24% Overboard (2018) A wholly adequate spin on the dying romantic-comedy genre, and both Faris and Derbez come out looking like champs.‐ indieWire
Read More | Posted May 4, 2018
B+ 95% Ava (2018) Foroughi finds the balance in an overwrought situation.‐ indieWire
Read More | Posted Apr 27, 2018
B+ 81% Tiny Shoulders, Rethinking Barbie (2018) Nevins does quick work of making her audience care about the earning potential of a multi-million dollar business by honing in on some other remarkable women.‐ indieWire
Read More | Posted Apr 27, 2018
B 71% The Rachel Divide (2018) The Rachel Divide lets Dolezal continue to dictate the experience through her own perspective, and even hard-hitting words from a handful of sharp critics are drowned out by Dolezal's unflagging resistance to facing up to her misdeeds.‐ indieWire
Read More | Posted Apr 25, 2018
B 100% Egg (2018) You've got to crack some eggs to make an omelette, and the fussiness of its conclusion carries Egg through to a rewarding end, a heartbreaker with hope to spare.‐ indieWire
Read More | Posted Apr 23, 2018
B+ 64% The Party's Just Beginning (2018) Gillan's film weaves together both the past and the present, folding situations into each other with an ease that brushes past any initial audience confusion. ‐ indieWire
Read More | Posted Apr 23, 2018
B- 88% Love, Gilda (2018) God bless Gilda Radner for having the foresight to know that people wanted to know her. ‐ indieWire
Read More | Posted Apr 19, 2018
B- No Score Yet Dude (2018) Hale is already engaging enough in the role before "Dude" plunges headlong into darker territory (yes, it's still a comedy!).‐ indieWire
Read More | Posted Apr 19, 2018
B+ 86% Unlovable (2018) It's a fluffy spin on the recovery genre, but it's a fresh one, and deGuzman's hard-won life experience adds veracity and honesty to the snappy narrative. ‐ indieWire
Read More | Posted Mar 14, 2018
C+ 51% Tomb Raider (2018) It seems inevitable that Lara will be back for more; next time, maybe the whole thing can feel just a smidge more like its own film.‐ indieWire
Read More | Posted Mar 14, 2018
C+ 81% Sadie (2018) Unfortunately, too much of the biggest revelations feel like palmed-off traumas that dilute the real terror of the film, which should be easy enough to focus on.‐ indieWire
Read More | Posted Mar 12, 2018
B+ No Score Yet Meow Wolf: Origin Story (2018) As the film slowly builds its momentum into its jam-packed second act before winding down into a languorous finale, its biggest questions still linger. There are no answers, but art helps.‐ indieWire
Read More | Posted Mar 12, 2018
C+ 37% Gringo (2018) Gringo sags and slips in its middle, falling so flat that even its fast-paced and neatly tied up final 20 minutes can't get the energy back up. ‐ indieWire
Read More | Posted Mar 8, 2018
B+ 40% The Strangers: Prey At Night (2018) The only thing scarier than "Prey at Night" is the possibility that we might have to wait another decade for more of its very special mask-faced chills.‐ indieWire
Read More | Posted Mar 8, 2018
C- 63% Every Day (2018) The love story at the heart of "Every Day" is a deep one, an inventive allegory that packs a timely wallop, but it's one hopelessly hampered by its resistance to engaging in the deeper issues it stirs up.‐ indieWire
Read More | Posted Feb 22, 2018
C- 37% The Female Brain (2018) By the time the film chugs to its nonsensical ending, it's become a very familiar feeling indeed.‐ indieWire
Read More | Posted Feb 9, 2018
A- 54% Burden (2018) Production design from Stephanie Hamilton is another highlight, and the film feels pulled directly out of a very specific time and place; Jeremy Rouse's cinematography is gorgeous without being at all showy.‐ indieWire
Read More | Posted Jan 31, 2018
B+ 93% Searching (2018) Search doesn't require any further narrative tricks to prove Chagnaty's ability to use seemingly huge constraints to weave a unique film, one that maintains a near-perfect connect with its audience.‐ indieWire
Read More | Posted Jan 29, 2018
B+ 82% Puzzle (2018) Moverman's script, based on the Argentinian film Rompecabezas by Natalia Smirnoff, is graceful with the details and its characters.‐ indieWire
Read More | Posted Jan 24, 2018
C+ 81% Beirut (2018) The stakes in "Beirut" are high (a high-ranking official has been kidnapped, and everyone seems convinced that he's going to spill all kinds of secrets), but [Jon] Hamm lopes through the process without much conviction. ‐ indieWire
Read More | Posted Jan 23, 2018
C 59% Ophelia (2018) Most damning, however, is that the film no longer feels as if it belongs to Ophelia, but instead uses her for a different take on a well-known tale. ‐ indieWire
Read More | Posted Jan 23, 2018
B+ 94% RBG (2018) It's the insights into [Ginsburg's] personal life that feel the most vital, moving "RBG" beyond the kind of information you could read on a Wikipedia page (as ably and entertainingly rendered as they may be on the big screen). ‐ indieWire
Read More | Posted Jan 22, 2018
C- 64% Lizzie (2018) At least it looks good.‐ indieWire
Read More | Posted Jan 22, 2018