Kate Erbland is the Film Editor at Indiewire and an entertainment and culture writer and editor living in New York City.

She is a former Associate Editor for Film School Rejects, and her work can be found at Vanity Fair, Cosmopolitan, Rolling Stone, The Dissolve, ScreenCrush, New York Daily News, Mental Floss, Bustle, Dame Magazine,, Fandango, The Playlist, amNY, Vulture,,, MSN Movies, Boxoffice Magazine, and

  • Name: Kate Erbland
  • Location: New York City
  • Email:
  • Twitter: @katerbland
  • Linkedin: kateerbland
  • Instagram: @katerbland


2010 - Present


Contributing Writer

Features, interviews, reviews, news, and film festival coverage for a variety of outlets, including Vanity Fair, Cosmopolitan, Rolling Stone, The Dissolve, ScreenCrush, New York Daily News, Mental Floss, Bustle, Dame Magazine,, Fandango, The Playlist, amNY, Vulture,,, MSN Movies, Boxoffice Magazine, and

2011 July - Present

Film School Rejects

Associate Editor

Review new film releases, festival films, and films from emerging filmmakers; write daily column on wide range of topics, including television, film, books, and pop culture; write timely news items on breaking film news.; develop, plan, and write new television coverage, including news, recaps, and reviews; interview talent for special features; assign and plan coverage by the site’s other editors, writers, and critics; copyedit and review posts on site prior to publishing.

2014 October - 2015 January

The Dissolve

Interim News Editor

Wrote timely news items on breaking film news, assigned and planned coverage by the site’s other editors and writers, copyedited and reviewed all news posts on site prior to publishing.

2013 February - 2013 September

MSN's Page-Turner

Contributing Writer

Reviewed new book releases, wrote timely news items on breaking book news.

2011 July - 2013 September

MSN Movies

Critic and Contributing Writer

Reviewed new film releases, festival films, and films from emerging filmmakers; wrote timely news items on breaking film news.


2001 September - 2005 May

Loyola Marymount University

Bachelor of Arts, English

Minor in Art History, Emphasis in Modern and Contemporary Theory

Recently Published

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    “A Little Chaos” Review

    A film review of "A Little Chaos" from The Dissolve.

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    What Was The Deal With “A Deadly Adoption”?

    A recap of "A Deadly Adoption" from Vanity Fair.

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    Why Charlize Theron Is a Fascinating Screen Presence

    A look at Charlize Theron's fascinating career from Indiewire.

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    “Infinitely Polar Bear” Review

    A film review of "Infinitely Polar Bear" from The Dissolve.

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    “Dick Tracy” Turns Twenty-Five

    A look back at "Dick Tracy" from Vanity Fair.

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    “Chagall-Malevich” Review

    A film review of "Chagall-Malevich" from The Dissolve.

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    “The Wolfpack” Review

    A film review of the documentary The Wolfpack from The Playlist.

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    Ellen DeGeneres Became Internet Famous by Loving the Internet Famous

    A look at Ellen DeGeneres from Cosmo's Internet's Most Fascinating list.

  • + >

    Without Jimmy Fallon, Your Facebook Feed Would Suck

    A look at Jimmy Fallon from Cosmo's Internet's Most Fascinating list.

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    “Testament Of Youth” Review

    A film review of "Testament Of Youth" from The Dissolve.

  • + >

    Ranking Cameron Crowe’s Mismatched Couples

    A ranking from Vanity Fair.

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    Crazy Stuff at “Red Nose Day”

    Live at "Red Nose Day" from Rolling Stone.

You could do almost anything in the gardens of Versailles during Louis XIV’s rule, including dance on a giant slab of marble situated in the middle of a meticulously constructed open-air garden resplendent with fresh grass seating, carefully transported seashells from Africa, and artfully hidden musicians. It was a different time—a gaudy time, really—but at least the parties were good. Director and co-writer Alan Rickman brings that world to life in A Little Chaos, an inventive but uneven look at life in Versailles during its gilded age, as told by an outsider who struggled not only to fit in, but to make the foreign environment still more beautiful in the process. Read more at The Dissolve.
It’s fitting that the existence of A Deadly Adoption was announced the day after April Fools’ Day, a seemingly funny idea that arrived just after a day’s worth of pre-packaged mirth had worn off. The concept—that the very funny Will Ferrell and Kristen Wiig took time out of their cram-jammed schedules to make a bonafide Lifetime movie about a seemingly ill-fated adoption – is hilarious, wickedly weird and wildly unexpected. In execution, though, the joke is on the audience, because A Deadly Adoption isn’t a gag, it’s precisely what Ferrell and Wiig promised in April: a Lifetime movie. Read more at Vanity Fair.
Charlize Theron started out in the background. Her first role – an uncredited bit part as "Eli's Follower" in 1995's "Children of the Corn III: Urban Harvest" – didn't give her too much to work with, and in just two scenes she's tasked with sitting stony-faced in a church (the "follower" thing) and then being attacked by a many-tentacled monster (appropriately enough, in a cornfield). It wasn't an auspicious start, but everyone has to begin somewhere. Theron started small. Horror films – especially popular franchises that are bizarrely corn-based – didn't end up being Theron's bag, fortunately enough. Instead, the actress has carved out a career that relies on one thing: her tremendous screen presence. Theron's prodigious range is both the cause and the result of said presence, and her ability to slip between genres, periods, and parts with obvious ease is perhaps her biggest asset as a performer. Theron is consistently watchable and perpetually engaging, particularly thanks to her knack to slip into roles with ease, regardless of how different new parts are from old ones. She's always willing to do more, and do it differently. Read more at Indiewire.
Unconventional childhoods make excellent fodder for the big screen. From the holiday-related hijinks of A Christmas Story to the fish-out-of-water humor of Mean Girls to a little classic Swiss Family Robinson fun, kids who have wacky upbringings are consistently fun to watch. (And for those whose experiences as a tyke were even remotely weird, they’re also relatable.) Marrying that lightheartedness with heavier tones and storylines can be tricky, however, as is the case with Maya Forbes’ autobiographical feature, Infinitely Polar Bear. Based on Forbes’ own experiences growing up with a manic-depressive father, the film lightly fictionalizes parts of her childhood to bring her unconventional upbringing to the big screen, with results that are mostly mixed, but beautifully portrayed. Read more at The Dissolve.
Christopher Nolan’s The Dark Knight was seen as a vanguard for superhero movies in 2008: a massive box office success that also earned a staggering eight Academy Award nominations and eventually won two. But Nolan’s second Batman adventure wasn’t the first comic-book movie to break through the Oscars’ once-impenetrable ceiling. It wasn’t even the one that did it best. Before comic-book movies ruled the box office, the genre was littered with one-offs (Howard the Duck, The Rocketeer, The Shadow) and franchises that are already being remade today (Superman, Batman, Teenage Mutant Ninja Turtles). Warren Beatty’sDick Tracy was an outlier. A star-packed callback to the glory days of trench-coat-clad crime fighters and a nostalgic confection set to the music of Stephen Sondheim, it was unafraid to not just nod, but fully lean on its roots as a two-dimensional story ripped right from the funny pages. Now, as it turns 25 years old, Dick Tracy still hasn’t gotten its due—even though it has three Oscars to show for itself. Read more at Vanity Fair.
“Look at how interesting everything will be!” a breathless would-be student gasps as she enters the Vitebsk Arts College for the first time, determined to earn a spot in favored son Marc Chagall’s new art school, one built on the kind of big dreams that so often eluded the residents of what was then a small section of the Russian Empire. She gasps and coos over the new school, and though she marvels at how interesting everything will be, there’s not much to see. That’s oddly indicative of the problems facing Alexander Mitta’s Chagall-Malevich, which, though ambitious and creative, is unable to deliver on an early promise that it will be, at the very least, interesting. Read more at The Dissolve.
Although it’s not essential for a filmmaker to insert their own experiences and opinions into a documentary feature that chronicles the lives of other people (in fact, most documentarians doing so end up looking foolish and inept), Crystal Moselle’s “The Wolfpack” proves to be a confounding exception. Although Moselle only briefly asks questions off-camera during a handful of interviews — typically the right kind of distance for most films — what she fails to recognize is that she is very much a part of this film’s story, and keeping herself and her version of events out of the final product only adds to her film’s inability to effectively translate a fascinating story to the big screen. “The Wolfpack” is a film about access, and though we are admitted into the world of the eponymous Wolfpack, not understanding how we got there robs the film of compelling commentary. Read more at The Playlist.
The Ellen DeGeneres Show, now in its 12th season and steadily moving toward an astounding 2,000-episode benchmark, has always been about finding the heart in a story. (And dancing! It's been about dancing.) Even when she's interviewing celebrities, DeGeneres gets at the human interest angle. Talking to Lindsay Lohan in 2010, when the actress was going through a particularly low point, for example, DeGeneres asked — with that sincere Ellen look — "Do you want to run away from this business?" But what really sets Ellen apart from other talk shows is that its host offers the same attention and warmth to the Internet famous as she does the famousfamous. If Jimmy Fallon's show is the place stars go to prove they're regular people, Ellen DeGeneres's is the place regular people go to prove they're stars. Read more at Cosmopolitan.

When a celebrity consents to an interview, a sometimes agonizing negotiation happens beforehand. "No personal questions," her publicist might insist. "She wouldn't feel comfortable doing that," she might say, shooting down a sketch idea. But you get the sense that Jimmy Fallon, one of the world's most prominent and viral celebrity interviewers, has it way easier than most. And not just because his guests are usually contracted by a studio to make the late-night circuit, but because celebrities — and the people who manage their images — trust Fallon. He has traded celebrity gossip for celebrity goofiness. He knows all that matters now is getting a three-minute clip that will be the next morning's top-trending topic on Facebook. Read more at Cosmopolitan.

“Writing? That belongs to another life,” Vera Brittain (Ex Machina’s Alicia Vikander) wistfully remarks during the final act of James Kent’s Testament Of Youth, an exceedingly well-made, deeply respectful biographical glimpse at Brittain—who, yes, became a celebrated writer—and the events that shaped her both as a person and as an author. Based on Brittain’s memoir of the same name (she went on to write other autobiographical works in a similar vein, including Testament Of Friendship and Testament Of Experience), the film follows Brittain through her most formative years, centered mainly on the wrenching blows dealt to her by World War I. Brittain is first seen as a twentysomething who wants nothing more than to attend Oxford’s Somerville College, going so far as studying for the notoriously difficult entrance exam on her own, despite her parents’ protestations that it’s pointless for women to go to Oxford (they can’t even get degrees!), and expensive to boot. Brittain is headstrong, stubborn, and tempestuous (the film’s first act might as well be called Tempestuousness Of Youth, given her big ideas and tragically immature outbursts), and she refuses to be confined by expectations, even those issued by her own family. One of those expectations? That getting an education would delay Brittain from locking down a husband—or worse, keep her from snagging one at all. Read more at The Dissolve.
The final scene of Cameron Crowe’s 1989 romantic opus, Say Anything…, ends on an airplane. Lloyd Dobler (John Cusack, not toting a boom box, perhaps because of restrictions involving carry-on luggage) and Diane Court (Ione Skye, wearing the kind of hat that announces, “I am going to Europe now!”) wait for the plane’s ascent to taper off into what they figure is a safe cruising altitude. The attendant ding signals that they are free to move about the cabin, that things are O.K., that everything is going to work out. Moreover, it signals that they are going to work out, the most unlikely couple to ever emerge from Lakewood High School, probably ever. It dings, the film cuts to black. Crowe—whose latest feature, the Emma Stone-Bradley Cooper Hawaiian military-base romance Aloha, opens today—loves an underdog but he especially loves an underdog love story, pushing two unlikely souls together to give his audience the kind of major, life-changing romance that may only exist on the big screen, but that still has roots in real-world emotions. Crowe makes love stories, big romances, epic courtships—the kind that are worth rooting for, no matter how unlikely they may be, and man, some of these are pretty unlikely. Read more at Vanity Fair.
There wasn't a telephone in sight. For the inaugural celebration of the goofy and good-hearted Red Nose Day in America, NBC invited seemingly everyone in Hollywood to hang out at New York City's own Hammerstein Ballroom for three hours in an attempt to "be funny for money" — and it didn't require a single participant to awkwardly answer a phone on stage in order to collect donations. The British import (it was partially conceived of by director Richard Curtis, which means it's about as British as Love, Actually) brings together big talents for a good cause – helping kids through donations to 12 different charities scattered across the globe – and aims to make everyone laugh to boot. Billed as an "entertainment special," the television event was essentially a gussied-up telethon, complete with marquee-name talents, live sketches, musical performances, and enough pre-taped material to conceivably launch a very viable Saturday Night Live competitor. And while Red Nose Day offered up a lot of fun for viewers (a Game of Thrones musical courtesy of Coldplay! Martin Short and Billy Eichner harassing people on the street!), those in the live audience witnessed some behind-the-scenes nuttiness as well. Read more at Rolling Stone.