For 1,352 reviews, this critic has graded:
  • 33% higher than the average critic
  • 0% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 11.8 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Calvary
Lowest review score: 0 Mirror Mirror
Score distribution:
1352 movie reviews
    • 34 Metascore
    • 38 Kyle Smith
    About the only reason to stay with this increasingly histrionic film is to satisfy curiosity about exactly how Diego will (as we learn at the outset) die, but long before we learn that Twice Born chokes to death on its own melodrama.
    • 49 Metascore
    • 38 Kyle Smith
    The considerable talents of Banks make the movie bearable.
    • 67 Metascore
    • 38 Kyle Smith
    Jon Stewart’s filmmaking debut Rosewater has much in common with “The Daily Show” — it’s blaringly obvious, it’s naive, it plays to the cheap seats and it’s enamored with cheap jokes.
    • 49 Metascore
    • 38 Kyle Smith
    Argentina’s noir Everybody Has a Plan is as sludgy as the river delta in which it takes place.
    • 46 Metascore
    • 38 Kyle Smith
    A suspenseless rehash.
    • 54 Metascore
    • 38 Kyle Smith
    The story of a guy who never goes anywhere or does anything. Until he goes everywhere and does everything, but he might as well have stayed home.
    • 56 Metascore
    • 38 Kyle Smith
    Real Steel is to action what the Anthony Weiner habit was to sex: It's so virtual, so distant from the thrill, that you wonder what the point is. Do you really want to pay to watch an actor playing a kid who in turn plays what amounts to a video game?
    • 55 Metascore
    • 38 Kyle Smith
    Much has been made of the fact that Promised Land was partly funded by the enemies of our domestic gas industry - the foreign oil nabobs in the United Arab Emirates. But the film gets so cheesy that I suspect it was also secretly funded by Velveeta.
    • 64 Metascore
    • 38 Kyle Smith
    Combines a sketch-comedy premise with pacing like a philosophy seminar.
    • 68 Metascore
    • 38 Kyle Smith
    A cinematic listicle of misleading economic talking points.
    • 64 Metascore
    • 38 Kyle Smith
    Che
    You can't spell cliché without Che. And as I endured this mad dream directed - or perhaps committed - by Steven Soderbergh, I wondered where I'd seen it all before. The booted stomping through the greensward, the jungly target shooting? It's a remake of Woody Allen's "Bananas," right?
    • 39 Metascore
    • 38 Kyle Smith
    Young men and fast cars are automatically stupid together, but even if you set your intelligence level at “off” — and you should — you’ll get a hangover from this cocktail of 200-proof stupid, clinking with moron ice cubes and with an idiot cherry on top.
    • 61 Metascore
    • 38 Kyle Smith
    This movie is basically “Spinal Tap” minus the jokes. Two of the band members have the word “Metallica” emblazoned on their clothing. Metallica — it’s the band that has to remind fans whom they’re watching!
    • 44 Metascore
    • 38 Kyle Smith
    Treading the same halls as “Kick-Ass” and “Kingsman,” Barely Lethal imagines an academy of teen assassins. Life there is deadly, but not as scary as high school.
    • 55 Metascore
    • 38 Kyle Smith
    Turn the River lacks almost everything Eigeman has as a performer: charisma, wit and snappy delivery.
    • 59 Metascore
    • 38 Kyle Smith
    The tone of The Playroom is one of soppy moroseness. This imitation “Ice Storm” is as refreshing as a step into a puddle of slush.
    • 57 Metascore
    • 38 Kyle Smith
    The finest 1947 boxing picture of 2015 is here: Southpaw, a film that’s gruntingly insistent on its clichés.
    • 22 Metascore
    • 38 Kyle Smith
    It feels as shopworn as a dusty VHS tape of "Less Than Zero."
    • 48 Metascore
    • 38 Kyle Smith
    So moron-friendly they should have called it "Sherlock Holmes: A Game of Checkers." The skill level in the script is elementary school, my dear Watson.
    • 42 Metascore
    • 38 Kyle Smith
    The film mangles its twist and fails to deliver an interesting coup de grace or a sharp line of dialogue.
    • 36 Metascore
    • 38 Kyle Smith
    Attempting to fill Dudley Moore's top hat in Arthur, Russell Brand rapidly descends the rungs of the comedy ladder from "unfunny" to "irritating" to "vulgar" to the bottom one - "Andy Dick."
    • 82 Metascore
    • 38 Kyle Smith
    The teen movie The Spectacular Now begins like “Say Anything” but soon turns into “Drink Anything.”
    • 36 Metascore
    • 38 Kyle Smith
    Remember the old Ben Affleck, the one who made 28 consecutive bad movies before he turned out to be a pretty good director? He’s back! Behold, the second coming of . . . Badfleck.
    • 76 Metascore
    • 38 Kyle Smith
    It contains no poetry. It simply conjures up a horrible feeling -- and then sits back awaiting congratulation.
    • 55 Metascore
    • 38 Kyle Smith
    There’s a fine horror film inside Tusk, but it’s only 20 minutes long. The rest is just blubber.
    • 65 Metascore
    • 38 Kyle Smith
    It raises tangled questions about whether it is better to live humiliated or arm yourself, yet for the most part it's dramatically inert, talky and directionless, and it ends quietly without saying much of anything.
    • 50 Metascore
    • 38 Kyle Smith
    As Franco dilutes the drama with first-year-film-student gimmicks, like split screens and slow motion, it just seems like a dull collection of pointless monologues from actors who can’t even be bothered to match up their accents. Franco is a dilettante, and it shows.
    • 45 Metascore
    • 38 Kyle Smith
    This loopy farce has the feel of a wacky off-off-Broadway play with more energy than wit, but it has its moments. And the laid-back acting of Hoffman (son of Dustin) just about holds it together.
    • 62 Metascore
    • 38 Kyle Smith
    Picture "Fargo" played with no sense of comedy, and you'll get some idea of the absurdity of this drunken floozy, clicking and wobbling on high heels, often with bits of her anatomy hanging out, trying to pull off the perfect crime.
    • 43 Metascore
    • 38 Kyle Smith
    As bland as the Kenny G-style smooth jazz its hero listens to in moments of distress.
    • 35 Metascore
    • 38 Kyle Smith
    Cavanagh, the always-engaging former star of "Ed" (with whom I am friendly), and the adorable Faris (whom I don't know -- but feel free to look me up, Anna!) make the non-animated scenes amusing, as the ranger and the documentarian fall in love and fight to save the park. But the script doesn't give them a lot to do.
    • 67 Metascore
    • 38 Kyle Smith
    If you're wondering why this movie must stretch past two hours, it's because it takes that long to read every item in the cliché dictionary.
    • 74 Metascore
    • 38 Kyle Smith
    Jacques Rivette's film is full of painstaking historical detail, but the behavior of the two nonlovers is mired in inaction and emotionally incomprehensible.
    • 28 Metascore
    • 38 Kyle Smith
    Can’t somebody come up with a monster that does something more interesting than run at you screaming, “Yeeaaaarrrrgh”?
    • 37 Metascore
    • 38 Kyle Smith
    Situations get increasingly ridiculous, and none of the characters ever seems like anything but a screenwriter's sketch.
    • 68 Metascore
    • 38 Kyle Smith
    Let’s say you wanted to have another go at “Red Dawn” but you think more like Redford. Voilà: You’d have The East, a cockamamie valentine to eco-terrorism.
    • 23 Metascore
    • 38 Kyle Smith
    In Pay the Ghost, Nicolas Cage investigates a supernatural abduction, but has no solution for the maggot-eaten zombie that is his undead career.
    • 55 Metascore
    • 38 Kyle Smith
    The movie has the feel of a weary business trip.
    • 47 Metascore
    • 38 Kyle Smith
    This mild drama plays out like one of those dull message movies that TV networks used to crank out almost weekly, but the earnestness is at times almost appealingly old-fashioned.
    • 64 Metascore
    • 38 Kyle Smith
    DiCaprio and Connelly give off the sexual tension of pickled herring.
    • 41 Metascore
    • 38 Kyle Smith
    It makes "Top Gun" look like the work of Orson Welles. At least the Tom Cruise movie remembered to cast actual actors.
    • 81 Metascore
    • 38 Kyle Smith
    Inherent Vice, meandering even by Anderson’s standards, is easily the worst of his movies, a soporific 2½-hour endurance test.
    • 74 Metascore
    • 38 Kyle Smith
    The movie is trying to do far too much and doesn't do anything well. "Ambitious" isn't the word here; "random" is more like it.
    • 62 Metascore
    • 38 Kyle Smith
    The villains are all wrong, the motivations are muddy, even the gadgetry is off. And the swaggering genius at the center of it all has become a preening fool.
    • 61 Metascore
    • 38 Kyle Smith
    Less a movie than a checklist of indiecinema clichés. Youth on a journey of self-discovery? Got it. Dead mom? Uh-huh. Wounded and entitled when it’s trying to be soulful, plotless, laden with indie rock and entirely overhyped at Sundance? Checkarooney.
    • 53 Metascore
    • 38 Kyle Smith
    Jig
    There's no way to put this gently: Watching people slam their heels and toes on the boards while drifting around the floor is about as fascinating as watching the carousel rotation in your favorite microwave oven.
    • 41 Metascore
    • 38 Kyle Smith
    A heist comedy in which the audience gets robbed.
    • 51 Metascore
    • 38 Kyle Smith
    For all its outré set pieces it never rises above the level of pretentious trash.
    • 48 Metascore
    • 38 Kyle Smith
    The script suffers from blandness and aimlessness.
    • 45 Metascore
    • 38 Kyle Smith
    Argentine writer-director Juan Solanas’ fantasy romance Upside Down is such a gorgeous wreck that I could almost sense Terry Gilliam somewhere muttering, “Wait a minute, I should have been the one to screw up this idea.”
    • 34 Metascore
    • 38 Kyle Smith
    Is the Crystal Lake PD really doing such a good job? You'd have to go back to Phnom Penh in 1975 to find a place with a higher per-capita rate of unprosecuted homicides.
    • 24 Metascore
    • 38 Kyle Smith
    Just Before I Go is a “Garden State” retread in which filthy jokes gradually cede ground to sentimental slush.
    • 41 Metascore
    • 38 Kyle Smith
    UH-UH. Non. Nein. Negative. Sept. 11 is not to be used as the setup for a cheesy disaster prophecy flick.
    • 65 Metascore
    • 38 Kyle Smith
    A great writer deserves a more penetrating and inquisitive documentary: Reverence is not the path to understanding.
    • 38 Metascore
    • 38 Kyle Smith
    At best a sporadically amusing sketchbook of theater types.
    • 42 Metascore
    • 38 Kyle Smith
    It sounds like it was written by the star pupils at the Cameron Academy of Screenwriting.
    • 65 Metascore
    • 38 Kyle Smith
    Satire is merciless; it demands that mocker be superior to mockee.
    • 67 Metascore
    • 38 Kyle Smith
    Banal at the beginning and preposterous at the close, the British horror film Kill List jumbles together wildly incongruous ingredients to create a dramatic mush.
    • 28 Metascore
    • 38 Kyle Smith
    A movie that appears to have been shot entirely on leftover sets from "Monty Python and the Holy Grail."
    • 42 Metascore
    • 38 Kyle Smith
    Both Adam and the stakes are so low, it’s like watching 100 minutes of a slug trying to crawl over a twig.
    • 40 Metascore
    • 38 Kyle Smith
    Throws in enough hurtling bodies, screaming bullets and totaled cars that it at least holds your interest, so it passes the worth-watching-if-you're-stuck-on-an-airplane test.
    • 57 Metascore
    • 38 Kyle Smith
    Things are so dull, rote and humorless that when signboards in a European scene read "Mondiale Grand Prix," I at first thought they said "Mondale Grand Prix," which sounds like an unwanted award this movie could easily win.
    • 56 Metascore
    • 38 Kyle Smith
    It all leads nowhere. There are pull-the-rug-out endings, and then there are pull-the-floor-out endings. The Escapist leaves you standing on nothing, like Wile E. Coyote, wondering why you bothered to come this far.
    • 25 Metascore
    • 38 Kyle Smith
    For a noir, the film is way too talky and convoluted, yet for a physics lesson, it's trash.
    • 62 Metascore
    • 38 Kyle Smith
    Their '50s-style comedy mugging not only don't come across to Americans, it's hard to believe even New Zealanders would care.
    • 66 Metascore
    • 38 Kyle Smith
    Cop Car is an instance of what happens when an airy indie filmmaker tries to “do genre” and winds up being as convincing as John Kerry putting down his demitasse and dressing up in hunting gear.
    • 48 Metascore
    • 38 Kyle Smith
    Matthew Broderick graduates from "boyish" and lurches straight into "curmudgeonly" in the would-be indie heartwarmer Wonderful World.
    • 38 Metascore
    • 38 Kyle Smith
    A kid unversed in other name-brand fantasy movies might go for The Seeker, but in 2007 it's redundant, a puttering Potter without wit and whimsy.
    • 71 Metascore
    • 38 Kyle Smith
    A cheap exploitation picture wrapped in miles and miles of stale would-be Oscar scenes.
    • 55 Metascore
    • 38 Kyle Smith
    Not every movie can come from the heart: This one is from the crotch. But what’s left for the sequel? Maybe it’ll feature Mark and Denzel sporting matching leather codpieces or giving each other bikini waxes. We can only hope.
    • 76 Metascore
    • 38 Kyle Smith
    Has the aroma of an autobiographical confession by someone for whom life hasn’t been overly difficult.
    • 23 Metascore
    • 38 Kyle Smith
    The cheesy techno-thriller The Outsider is a blaring B-movie that doesn’t have much going for it, but it does have an engaging action hero in its leading man, a snarling Cockney badass named Craig Fairbrass.
    • 81 Metascore
    • 38 Kyle Smith
    The movie independently bungles everything it tries, like a Central Park busker who simultaneously sucks at juggling, harmonica playing and skateboarding.
    • 47 Metascore
    • 38 Kyle Smith
    CHOKE tries to be dirty but manages merely to be dingy.
    • 46 Metascore
    • 38 Kyle Smith
    The first time I saw Yes Man, I thought the concept was getting kind of stale toward the end. As it turns out, that was only the trailer.
    • 79 Metascore
    • 38 Kyle Smith
    Sure to be a favorite with racists, Beasts of No Nation sheds no light whatsoever on Africa’s civil wars but turns its gaze on black people brutalizing one another with machetes, howitzers, rifles and anything else that comes to hand. I picture Calvin Candie, the plantation owner in “Django Unchained,” yelling, “Yeah! Git ’em!”
    • 56 Metascore
    • 38 Kyle Smith
    As portrayed by Anna Mouglalis and Mads Mikkelsen, Coco Chanel & Igor Stravinsky weren't exactly Rhett & Scarlett.
    • 67 Metascore
    • 38 Kyle Smith
    A slow train to Dullsville that makes all local stops. You know a film is in trouble if the most interesting thing in it is the luggage.
    • 21 Metascore
    • 38 Kyle Smith
    Ryan Reynolds isn't around this time - and neither is most of the wit.
    • 60 Metascore
    • 38 Kyle Smith
    The Concert is an art-house trap, the cinematic equivalent of one of those salads that turns out to have more calories than a Big Mac. And for the same reason: gobs of thick, sweet dressing.
    • 49 Metascore
    • 38 Kyle Smith
    An occasionally revealing glimpse inside the mind of Chapman before, during and after the assassination.
    • 54 Metascore
    • 38 Kyle Smith
    Despising the British upper class is so utterly common, as we see in The Riot Club, a farcically heavy-handed attempted satiric takedown of an elite group of Oxford students.
    • 80 Metascore
    • 38 Kyle Smith
    I’m probably more intrigued than 99.3 percent of the American public by the idea of deconstructing the hidden symbols in Stanley Kubrick’s “The Shining,” but the theories proposed in the doc Room 237 aren’t eye-opening. They’re laughable.
    • 63 Metascore
    • 38 Kyle Smith
    Even I realize that other people's babies are boring. So is Babies.
    • 47 Metascore
    • 38 Kyle Smith
    The movie doesn't really begin or end. Whether the lights have just gone down or the credits have begun to roll, things are pretty much the same for Henry.
    • 43 Metascore
    • 38 Kyle Smith
    As for a villain, you could do worse than Bryan Cranston as the evil political overlord who is trying to stamp out the resistance -- When he goes mano a mano with Farrell, it's not spine-tingling. It's embarrassing, like watching a dude beat up his dad.
    • 36 Metascore
    • 38 Kyle Smith
    A 12th-grade "Sixth Sense" with a third-rate plot.
    • 74 Metascore
    • 38 Kyle Smith
    The only possible interest the movie will inspire in anyone comes when Paltrow flashes a breast toward the end, far too late to pump any excitement into an aggressively boring film that gurgles with self-indulgence.
    • 76 Metascore
    • 38 Kyle Smith
    No, this film by director/co-writer Gillian Robespierre just isn’t funny, and the mismatched leads aren’t even interesting together.
    • 32 Metascore
    • 38 Kyle Smith
    There probably aren't enough futuristic Goth rock musicals, but Repo! The Genetic Opera is weak on a couple of things a musical needs: music and lyrics.
    • 63 Metascore
    • 38 Kyle Smith
    Made to win awards, and I'm here to present it with one: the Cliché of the Year honors, otherwise known as the Hackney.
    • 51 Metascore
    • 38 Kyle Smith
    Transporter 3 is made for airplane viewing, and not just any airplane: an Eastern European one, on the flight from Hrubbishnik to Slutnya.
    • 44 Metascore
    • 38 Kyle Smith
    "Rush Hour" was acceptable. It was to "Rush Hour 2" what McDonald's is to White Castle. "Rush Hour 2" is to Rush Hour 3 what White Castle is to cat food.
    • 53 Metascore
    • 38 Kyle Smith
    The film as a whole goes from intriguing to irritating.
    • 53 Metascore
    • 38 Kyle Smith
    We watched a story of a Labrador. Who eats the couch and disobeys. I said to Lady, "It's a labra-bore."
    • 86 Metascore
    • 38 Kyle Smith
    Dopey as the film is on a plot level, it’s equally vapid in its psychology.
    • 58 Metascore
    • 38 Kyle Smith
    Goldblum's wobbly German accent and the staginess of the script doom this effort by Paul Schrader ("American Gigolo").
    • 30 Metascore
    • 38 Kyle Smith
    At some point, this movie must have been a screenplay. But it's an enigma why anyone would bet tens of millions of dollars that people would laugh.
    • 59 Metascore
    • 38 Kyle Smith
    I don't think he (Apatow) did enough research on his topic. Because no one could be as whiny, spoiled, tasteless, combative and reliant on annoying stand-up comedy riffs as the entire cast of this film, the most disappointing one of the year.
    • 51 Metascore
    • 38 Kyle Smith
    not so much a movie as an "act," one that belongs at a club called Shenanigans or maybe Chuckleheads.

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