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      Katie Rife

      Katie Rife

      Tomatometer-approved critic

      Movies reviews only

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      Rating T-Meter Title | Year Review
      3/4
      Evil Dead Rise (2023) Once it gets out of its own way and gives the audience what they came to see, “Evil Dead Rise” is an absolute blast. - RogerEbert.com
      Read More | Posted Mar 17, 2023
      3/4
      Unicorn Wars (2022) While “Unicorn Wars” undoubtedly indulges [its] impulses—think cartoon genitalia and bears hanging themselves in despair—it thankfully also has more going on. - RogerEbert.com
      Read More | Posted Mar 10, 2023
      2.5/4
      Palm Trees and Power Lines (2022) Beyond simple documentation, the movie’s intentions are fuzzy. - RogerEbert.com
      Read More | Posted Mar 03, 2023
      Children of the Corn (2023) There’s a lot of screaming and blood, and kids giggling while clutching rusty farm equipment, but none of it leads to anything. - Polygon
      Read More | Posted Mar 03, 2023
      1.5/4
      My Happy Ending (2023) “My Happy Ending” can’t even do a tearjerker right. - RogerEbert.com
      Read More | Posted Feb 24, 2023
      3.5/4
      Huesera: The Bone Woman (2022) [Huesera] accomplishes a lofty goal for genre cinema: Taking a familiar formula and turning it into a personal statement. - RogerEbert.com
      Read More | Posted Feb 10, 2023
      Magic Mike's Last Dance (2023) Allowing both love and money to complicate the primal enjoyment of watching muscular men in sweatpants gyrate ends up diluting the film’s once-simple pleasures. Maybe you can’t have it all. - Polygon
      Read More | Posted Feb 07, 2023
      Cat Person (2023) Cat Person gets it wrong so consistently, makes its points so inelegantly, and pads out the short story in such an ill-conceived way that it ends up invalidating the same concerns on which it’s built. - Polygon
      Read More | Posted Jan 27, 2023
      B
      Mami Wata (2023) The extra time spent developing the film pays off on screen: From its opening title design to the last notes of Tunde Jegede’s score, Mami Wata is a work of art. - indieWire
      Read More | Posted Jan 25, 2023
      Infinity Pool (2023) Infinity Pool is the best horror satire about Americans abroad since Hostel. - Polygon
      Read More | Posted Jan 25, 2023
      2.5/4
      Kids vs. Aliens (2022) In keeping with our current "poptimistic" age, Kids Vs. Aliens keeps the aggressive neon splatter, but loses the cynicism—a choice that, for all the F-bombs and fake blood, makes it a surprisingly pure film. - RogerEbert.com
      Read More | Posted Jan 25, 2023
      2.5/4
      Jethica (2022) This is a strange film all around, distractible and full of Olympic-level tonal gambits. Viewers’ mileage will vary. Wildly. - RogerEbert.com
      Read More | Posted Jan 13, 2023
      3/4
      M3GAN (2022) Like Malignant, M3gan knows it's ridiculous. It fills a kiddie pool with ridiculousness and splashes around in it. - RogerEbert.com
      Read More | Posted Jan 06, 2023
      2.5/4
      Wildcat (2022) While the points where Wildcat goes beyond simply being a feel-good nature documentary and delves into Harry’s mental health struggles are honest, they raise more questions than they answer. - RogerEbert.com
      Read More | Posted Dec 22, 2022
      Emily the Criminal (2022) As a crime thriller, Emily the Criminal is well-written and absorbingly paced, but it’s Plaza’s fearless work that makes it memorable. - Polygon
      Read More | Posted Dec 12, 2022
      3/4
      Spoiler Alert (2022) This is a nice film. A sweet film. A film you can watch with your mother-in-law. - RogerEbert.com
      Read More | Posted Dec 09, 2022
      3/4
      A Wounded Fawn (2022) [A Wounded Fawn] is forged in fire and blood, taking [Stevens'] eye for striking visuals and elevating it to psychedelic new heights. - RogerEbert.com
      Read More | Posted Dec 02, 2022
      Violent Night (2022) The film has fun lobbing snarky one-liners and outrageous bloodshed at the audience, but on the whole, Violent Night’s big red bag of self-aware tricks is overstuffed. - Polygon
      Read More | Posted Dec 02, 2022
      1.5/4
      Taurus (2022) Even in offering a cautionary tale, all it can deliver is shallow provocation and monotonous cliché. - RogerEbert.com
      Read More | Posted Nov 18, 2022
      Bardo, False Chronicle of a Handful of Truths (2022) Bardo tries to do so much that in the end, it ends up saying nothing. - Polygon
      Read More | Posted Nov 17, 2022
      The Wonder (2022) The Wonder crosses a line between eerie ambiguity and aimless floundering. - Polygon
      Read More | Posted Nov 16, 2022
      3.5/4
      Soft & Quiet (2022) Soft & Quiet is extremely effective as a piece of educational agitprop. - RogerEbert.com
      Read More | Posted Nov 04, 2022
      My Policeman (2022) The film has nothing to add to the canon of depressing LGBTQ+ period dramas that’s profound enough to overcome the story’s dreary packaging. - Rolling Stone
      Read More | Posted Oct 21, 2022
      3.5/5
      Who Invited Them (2022) Birmingham does a good job teasing the audience with the possibility of violence, while coyly withholding the orgy of bloodshed that seems sure to explode at some point. - Dread Central
      Read More | Posted Oct 18, 2022
      Hellraiser (2022) Hellraiser 2022 easily clears the admittedly low bar of being one of the best Hellraiser movies. - Polygon
      Read More | Posted Oct 05, 2022
      2.5/4
      Smile (2022) In padding out the concept from an 11-minute short into a nearly two-hour movie, Smile leans too heavily not only on formulaic mystery plotting, but also on horror themes and imagery lifted from popular hits like The Ring and It Follows. - RogerEbert.com
      Read More | Posted Sep 23, 2022
      B+
      I Like Movies (2022) A film that is small but not slight, sweet but not cloying, and the kind of thing that can make even a cynical critic like movies again. - indieWire
      Read More | Posted Sep 20, 2022
      C
      Dalíland (2022) On paper, Dalíland has all the elements of a fascinating character study. In practice, it’s more of a rote exercise. - indieWire
      Read More | Posted Sep 20, 2022
      B
      All Quiet on the Western Front (2022) Just as polished but not quite as flashy as Sam Mendes’ “1917,” the film displays a similar level of commitment to historical detail, but presents its elaborately staged battlefield scenes in a relatively more plain spoken style. - indieWire
      Read More | Posted Sep 14, 2022
      The Whale (2022) Darren Aronofsky’s The Whale is an act of hate disguised as tough love. - Polygon
      Read More | Posted Sep 14, 2022
      The Woman King (2022) This film has a fire in its belly. But more importantly, it also has a heart full of love: love of life, love of freedom, love of Black people and culture, and love for its ferocious, complicated, brave women. - Polygon
      Read More | Posted Sep 14, 2022
      C+
      A Jazzman's Blues (2022) It’s apparent that Perry worked in theater when he wrote this script. At its core, “A Jazzman’s Blues” is a soap opera full of shocking secrets, emotional confrontations, and one exceedingly satisfying slap. - indieWire
      Read More | Posted Sep 13, 2022
      3.5/4
      Girl Picture (2022) Its embrace of the exquisite, painful, confusing breadth of emotions that make up the human experience is what makes Girl Picture so worthwhile. - RogerEbert.com
      Read More | Posted Aug 12, 2022
      Easter Sunday (2022) It’s clear that Jo Koy loves his relatives, and wants the world to know it. It’s just that his style would be better served within the more earnest confines of a traditional multi-cam sitcom. - Rolling Stone
      Read More | Posted Aug 05, 2022
      3/4
      Mija (2022) Mija weaves a more nuanced emotional tapestry than is typically seen in immigration stories like this one. - RogerEbert.com
      Read More | Posted Aug 05, 2022
      Resurrection (2022) This is an audacious film that asks viewers to take its hand and come along to some particularly dark, surreal, and grotesque places. - Polygon
      Read More | Posted Jul 29, 2022
      B
      Medusa (2021) Da Silviera’s vision of bubblegum fascism is compelling, and Medusa sucks viewers in right away. Unfortunately, however, the film expends far more effort on aesthetics and world-building than it does on narrative. - indieWire
      Read More | Posted Jul 29, 2022
      The Black Phone (2021) The Black Phone manages to preserve everything that made Hill’s short story so creepy and undermine it at the same time. - Polygon
      Read More | Posted Jun 24, 2022
      Spiderhead (2022) In spite of the dystopian premise, Kosinski brings a light touch to Spiderhead. Colorful cinematography and spirited editing contrast with the characters’ tragic backstories. - Polygon
      Read More | Posted Jun 13, 2022
      2.5/4
      After Blue (2021) After Blue might be better off as an art installation than as a narrative film, given that it’s more fun to describe than it is to actually watch. - RogerEbert.com
      Read More | Posted Jun 03, 2022
      2.5/4
      Torn Hearts (2022) If Torn Hearts had pushed itself a little harder, it could have ascended into camp heaven, and maybe become a cult classic. As it stands, it’s an unapologetically high-femme distraction that’s better than your average Lifetime thriller. - RogerEbert.com
      Read More | Posted May 20, 2022
      Firestarter (2022) Pretty okay when no one is talking. - Polygon
      Read More | Posted May 13, 2022
      3/4
      Pleasure (2021) Thyberg keeps her cards close throughout Pleasure, using the film’s verité framing to obscure the extent of her involvement as a director. The film feels even-handed, in the sense that its fly-on-the-wall style lets situations speak for themselves. - RogerEbert.com
      Read More | Posted May 13, 2022
      Shepherd (2021) For Shepherd to truly transcend its rickety bits and its story clichés, it would need to come up with more resonant and creative images than Owen is able to produce here. - Polygon
      Read More | Posted May 06, 2022
      Escape The Field (2022) Escape the Field gets a marginal pass, for two reasons: First, it’s short, clocking in at a brisk 88 minutes. Second, it’s an original-ish concept, with no explicit ties to existing IP. - Polygon
      Read More | Posted May 06, 2022
      1/4
      365 Days: This Day (2022) 365 Days: This Day is barely a movie. Its the emotionally bankrupt id of late capitalism, a braindead miasma of choreographed sex. - RogerEbert.com
      Read More | Posted Apr 29, 2022
      3/4
      Marvelous and the Black Hole (2020) Marvelous and the Black Hole has enough warmth to overcome its practical limitations. - RogerEbert.com
      Read More | Posted Apr 22, 2022
      Petite Maman (2021) Petite Maman is the work of an unusually sensitive filmmaker, and it speaks to Sciamma’s skill as a director that she’s able to express the nuances of this complicated dynamic through such simple actions and words. - Polygon
      Read More | Posted Apr 21, 2022
      The Northman (2022) Although the film ends up as a shallow rumination on revenge and single-minded dominance, it’s hard to beat as spectacle. In terms of making history exciting and engrossing, The Northman is about as titillating as gateway drugs get. - Polygon
      Read More | Posted Apr 11, 2022
      3/4
      Ambulance (2022) A thick, juicy, hilariously overwrought, gloriously stupid steak upon which the vulgar auteurists of the world can feast. - RogerEbert.com
      Read More | Posted Apr 08, 2022
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