For 1,468 reviews, this critic has graded:
  • 34% higher than the average critic
  • 1% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 12.5 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 The Birth of a Nation
Lowest review score: 0 The Salon
Score distribution:
1468 movie reviews
    • 38 Metascore
    • 50 Kyle Smith
    The minimalist style keeps the suspense warm. The movie is unusual among teen horror flicks in that it largely avoids the usual cheap thrills and bursts of scare music. Instead, it carefully repeats isolated images and sound bites until they take on a shivery power.
    • 46 Metascore
    • 50 Kyle Smith
    If it's violence ye seek, and violently confused storytelling, look ye no further.
    • 34 Metascore
    • 50 Kyle Smith
    Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.
    • 63 Metascore
    • 50 Kyle Smith
    A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.
    • 33 Metascore
    • 50 Kyle Smith
    Ultimately, this throwback, made-for-TV-style film takes the easy way out in a cheesy climax, but its resolute quaintness may appeal to the kind of viewers who regard electricity as disturbingly newfangled.
    • 40 Metascore
    • 50 Kyle Smith
    Despite being named “Gator Bodine,” Franco seems like something Statham would scrape off his boots. Put it this way: Franco needs a baseball bat to be intimidating; Statham just needs to be Statham.
    • 81 Metascore
    • 50 Kyle Smith
    The movie falls into the same uneasy category as "Eight Legged Freaks": too tongue-in-cheek to be thrilling, not funny enough to be a comedy.
    • 50 Metascore
    • 50 Kyle Smith
    It's a one-joke movie, if "Jewish mothers are annoying" is a joke. But just as a film about boredom should not actually be boring, no movie should credibly simulate the experience of being stuck in a car with Barbra Streisand for eight days.
    • 90 Metascore
    • 50 Kyle Smith
    The main reason for Winter's Bone to exist is that it delivers a little voyeuristic thrill -- a bit of poverty porno -- for the critics who awarded it their highest honors at this year's Sundance Film Festival.
    • 74 Metascore
    • 50 Kyle Smith
    The documentary Tabloid shows that an oddball lead character and a smirky style do not necessarily add up to a complete movie.
    • 43 Metascore
    • 50 Kyle Smith
    In Maze Runner: The Scorch Trials, selfish oldsters scheme to rob young people of their vital essence, sacrificing them in the process. It’s basically “Social Security: The Movie.”
    • 61 Metascore
    • 50 Kyle Smith
    Strip away the alt-country soundtrack, though, and you've got a Bette Davis fallen-woman-redeemed picture from 1937.
    • 59 Metascore
    • 50 Kyle Smith
    Unbroken, is a cinematic scrapbook, a collection of well-composed scenes practically cut and pasted from “Memphis Belle,” “Chariots of Fire,” “Life of Pi” and “The Bridge on the River Kwai.” Unlike those other films, though, Angelina Jolie’s second effort as a director is more a series of similar events than a story, and lacks an underlying message except that torture hurts.
    • 61 Metascore
    • 50 Kyle Smith
    Wraps a sari around the kind of suffering-housewife picture that became a cliché 30 years ago.
    • 52 Metascore
    • 50 Kyle Smith
    Robin Williams’ last live-action film, Boulevard, is a frustrating ending to a stellar career, a cramped and melancholy film about a cramped and melancholy man.
    • 82 Metascore
    • 50 Kyle Smith
    Since this low-grade comedy doesn't really even attempt to be funny, the purpose of the movie is to establish (or reinforce) a feeling of luxurious old-timey melancholy.
    • 69 Metascore
    • 50 Kyle Smith
    The film achieves a mild uptick in the final act, with a surprise change of heart and a race to save a little girl, but up till then it's thickly earnest -- a conquista-bore.
    • 64 Metascore
    • 50 Kyle Smith
    Combines unpleasantness and stupidity to a degree that would be difficult to match unless you were stuck in bed with a case of the shingles while being forced to watch “The Ghost Whisperer."
    • 55 Metascore
    • 50 Kyle Smith
    It has cult item stamped all over it, and fans of (severely) experimental cinema might see it as a revelation. Most others will find that watching this movie is like having your senses beaten with a rake.
    • 49 Metascore
    • 50 Kyle Smith
    Gunning for the near-annual Ugly Makeup Oscar, Aniston proves, as always, a modestly gifted actress, only this time with scars and weedy hair.
    • 74 Metascore
    • 50 Kyle Smith
    Joe
    David Gordon Green’s Joe largely succeeds in immersing us in a rural world of cruelty, ugliness, decay, neglect and aggression, but if there is a point to it all, I couldn’t find it.
    • 75 Metascore
    • 50 Kyle Smith
    The first “John Wick” was taut and nasty, a potent slug of B-movie. This one is so enamored of its own extravagance that, on more than one occasion, I was reminded of “Zoolander 2.”
    • 39 Metascore
    • 50 Kyle Smith
    There is a passable 85-minute comedy in here, caked in an additional 30 minutes of flab.
    • 65 Metascore
    • 50 Kyle Smith
    A touching love story that gets sidelined by a tiresome intra-family African political dispute, A United Kingdom has a big heart that beats far too slowly.
    • 68 Metascore
    • 50 Kyle Smith
    The movie is well-acted, but it's as talky as if it were written for the stage, with fatally slow pacing. Strictly for hard-core Sayles fans and maybe for lovers of American roots music.
    • 62 Metascore
    • 50 Kyle Smith
    Overrun with malicious goblins, a vengeance-minded pig, a fast-moving troll and a giant horned ogre, but the true source of terror is scarier than all of these combined: New York real estate prices.
    • 71 Metascore
    • 50 Kyle Smith
    What’s the difference between “21 Jump Street” and 22 Jump Street? Same as the difference between getting a 21 and a 22 at blackjack.
    • 45 Metascore
    • 50 Kyle Smith
    A comedy as black as vinyl, Kill Your Friends is a music-industry tell-all set at a decadent London record label in 1997.
    • 81 Metascore
    • 50 Kyle Smith
    In the utterly routine effort Skyfall, we're actually expected to cheer each chord we've heard so many times (here's a martini shaker! Look, it's a Walther PPK! And there's an Aston Martin!) We've been turned into wretched Pavlovian dogs, salivating at the bell instead of the snack. The highlight, by far, is a classic animated credit sequence: Adele, you are the new Shirley Bassey.
    • 86 Metascore
    • 50 Kyle Smith
    The Tillman Story purports to be an exposé of the cover-up of the death by friendly fire of the Army Ranger and one time NFL star Pat Tillman. But, provocative and colorful as the film is, it does the very thing it denounces -- massaging the facts to seize Tillman for a political agenda.
    • 90 Metascore
    • 50 Kyle Smith
    So there is courage and cheekiness here. What there is not is a story, or much insight or even anger; anyone expecting an indictment of Iran will be sorely disappointed.
    • 57 Metascore
    • 50 Kyle Smith
    They don’t make ’em like A Walk Among the Tombstones any more. Mainly because everyone got bored with ’em and stopped watching ’em.
    • 57 Metascore
    • 50 Kyle Smith
    As the movie's feet get stuck in its own misery, it made me appreciate "Trainspotting" all over again - its wit, how it moved, the way any outcome for its characters seemed possible.
    • 41 Metascore
    • 50 Kyle Smith
    This unapologetic B-movie at least keeps the action rolling, and the time goes by quickly. To put it another way, I’d rather see Gerard Butler stab a terrorist in the neck than flirt with Katherine Heigl.
    • 66 Metascore
    • 50 Kyle Smith
    It's the Food Network meets The Weather Channel meets . . . the Scary Doomsday Preachers Channel.
    • 52 Metascore
    • 50 Kyle Smith
    Creepy spirits in old-timey dress, ear-stabbing sound cues, slamming doors and bloody handprints: The horror flick Insidious isn't scared to be trite.
    • 81 Metascore
    • 50 Kyle Smith
    At Berkeley casts a nonjudgmental eye on everyone from cement layers to students discussing Thoreau to administrators complaining about budgeting. If only everything were interesting.
    • 64 Metascore
    • 50 Kyle Smith
    A scrapbook of bits from better Allen films that builds up to a hearty shrug.
    • 54 Metascore
    • 50 Kyle Smith
    Without an exceptionally skilled director of actors (such as Cameron Crowe), Cruise can’t dial up much emotion, so the two love interests for his character are two more than he can convincingly handle. He may be at home in the cockpit of a killing machine, but when it comes to displaying his humanity, he’s no Wall-E.
    • 73 Metascore
    • 50 Kyle Smith
    It’s mainly instructive in that it shows how liberals believe the end always justifies the means.
    • 32 Metascore
    • 50 Kyle Smith
    No, Warcraft isn’t a ridiculous mess; it holds together on its own musclebound terms. It neither tries to be jokey nor undercuts itself by being unintentionally funny. And it offers a bit more complexity than some other nonstop action flicks adapted from video games. It’s a real movie, just not a good one.
    • 75 Metascore
    • 50 Kyle Smith
    Spy
    Alas, “sad case” is not how we want to see McCarthy; it’s frustrating to see her spend more than half the movie being the pathetic target of jokes rather than the dominating figure she was in “Bridesmaids” and “The Heat,” both of which are far funnier than this one.
    • 55 Metascore
    • 50 Kyle Smith
    It follows exactly the same path as both "Glory Road" (except that was basketball) and "Gridiron Gang" (football).
    • 49 Metascore
    • 50 Kyle Smith
    Misshapen, malodorous and firing its grubby tentacles across the room in a feeding frenzy, The Thing reminded me of a roomful of journalists immediately after someone announces Open Bar. The movie's victims disappear like cocktail peanuts and without a whole lot more significance.
    • 41 Metascore
    • 50 Kyle Smith
    Calling Child 44 a mash-up of “Dr. Zhivago” and “Silence of the Lambs” doesn’t do enough to capture how strange it is.
    • 40 Metascore
    • 50 Kyle Smith
    An essential document of bad taste that needs to go right into the time capsule. History must not forget.
    • 69 Metascore
    • 50 Kyle Smith
    A cute, spunky found-footage thriller undone by a lumpy plot and a weak ending, Operation Avalanche revisits the urban legend that the moon landing was faked, with some fresh twists.
    • 32 Metascore
    • 50 Kyle Smith
    This one is essentially “The Firm” with smartphones.
    • 62 Metascore
    • 50 Kyle Smith
    Even if the movie had more shadings, though, Marshall's political point would undo his he-man action-flick format. If you're looking for a rallying cry to make the emotions sizzle, "Quagmire!" isn't it.
    • 40 Metascore
    • 50 Kyle Smith
    The banality of evil has met its match in the banality of Good, a Holocaust parable that barely registers a pulse.
    • 48 Metascore
    • 50 Kyle Smith
    I don’t know how many sex scenes featuring Winstone and Atwell you can handle, but the movie breaches my limit, which is a firm zero.
    • 74 Metascore
    • 50 Kyle Smith
    In mashing together story elements from Terrence Malick’s “Badlands” with the look of Malick’s “Days of Heaven,” Lowery put 90 percent of his energy into the atmosphere and 10 percent into the script.
    • 64 Metascore
    • 50 Kyle Smith
    Doesn't offer plot or an inquiry into the evil in men's hearts. It simply wallows in the filth and inhumanity that surround a father and his pre-adolescent son as they march across the shattered remains of this country.
    • 47 Metascore
    • 50 Kyle Smith
    If the movie's story is anything but daring, it does takes guts to make a movie so shamelessly emotional as this one. Not that guts are the same as taste.
    • 48 Metascore
    • 50 Kyle Smith
    Beginning as an adorable romcom, Hungry Hearts morphs into a disturbing but not particularly illuminating story of mental illness.
    • 50 Metascore
    • 50 Kyle Smith
    If you're in the mood for a clichéd gangland B-movie, though, you could do worse.
    • 61 Metascore
    • 50 Kyle Smith
    Engaging as it is to look at, this stop-motion animation film from the young Oregon studio Laika seems to have been masterminded by people thinking, “Everyone loves Pixar. So let’s do everything the opposite!” Admirably contrarian. Like being cast overboard and calling out for an anvil.
    • 52 Metascore
    • 50 Kyle Smith
    The danger of trying to do a supernatural comedy-romance is that you’ll wind up being as funny as “Twilight,” with all the raw sexual energy of “Bewitched.” Beautiful Creatures isn’t quite that bad, though it did make me long for the cleverer “Dark Shadows.”
    • 51 Metascore
    • 50 Kyle Smith
    What the Charles Darwin biopic Creation mainly creates is a do-over for Paul Bettany: This time he gets to have a beautiful mind.
    • 41 Metascore
    • 50 Kyle Smith
    Unfortunately, the film turns out to be not quite as twisty as promised: it’s less a pretzel than it is a Cheez Curl. And I do mean cheez: The resolution, when it comes, is wholly lacking in nutritional value.
    • 74 Metascore
    • 50 Kyle Smith
    Mongol really isn't worth leaving your yurt for.
    • 40 Metascore
    • 50 Kyle Smith
    The movie begins to wear out its welcome even before a conclusion of breathtaking corniness.
    • 52 Metascore
    • 50 Kyle Smith
    Chism’s characters are pleasingly odd, and though she can’t string much of a narrative together — there is a stop-and-start quality to the picture that grows tiresome — a few of the set pieces are funny.
    • 20 Metascore
    • 50 Kyle Smith
    It puts a conservative twist on Michael Moore-ism, with campy stock footage, deadpan humor, mocking musical cues and less-than-ingenuous questions.
    • 73 Metascore
    • 50 Kyle Smith
    Every episode of "Law & Order" I've ever seen has a more complicated and plausible plot, punchier dialogue and more New York authenticity, all in less than half the time consumed by this poky would-be finance thriller.
    • 54 Metascore
    • 50 Kyle Smith
    Stewart’s restrained performance is affecting, the film seems well-researched about what it’s like to try to deal with Gitmo detainees who throw their own feces, and it isn’t as tendentious as the average Hollywood take on the subject.
    • 73 Metascore
    • 50 Kyle Smith
    The visual effects are amazing, but they don't make up for acting that is restrained to an uninsightful fault.
    • 58 Metascore
    • 50 Kyle Smith
    There have been worse horror flicks, but although this one offers a few scares, it doesn't have a lot of imagination.
    • 55 Metascore
    • 50 Kyle Smith
    Unless the director was aiming for a Victorian "Black Christmas," though, he overshot his mark
    • 79 Metascore
    • 50 Kyle Smith
    As things pick up in the second half, the splendid photography and tempestuous John Adams score cannot quite conceal that the film is uncomfortably close to being an extravagantly elongated, Fendi-clad episode of "Dynasty."
    • 56 Metascore
    • 50 Kyle Smith
    Fatally mild, slow and factory-made, Million Dollar Arm belongs somewhere less competitive than the multiplex. Like the ABC Family Channel — the entertainment industry minor leagues.
    • 41 Metascore
    • 50 Kyle Smith
    Among cutesy pop musical trios aimed at nondiscerning audiences, I'll take Alvin and Co. over the Jonas Brothers any day.
    • 68 Metascore
    • 50 Kyle Smith
    They probably should have called it "Beneath the Dignity of the Planet of the Apes," but Rise of the Planet of the Apes is tolerable if you'll just keep in mind that the original feature was an overachieving B-movie.
    • 52 Metascore
    • 50 Kyle Smith
    Why doesn't anybody just buy a gun? I guess the female characters spent all their money on tight tank tops.
    • 65 Metascore
    • 50 Kyle Smith
    The more dramatic revelations and tragic inevitabilities that turn up, the harder it is not to laugh. Give credit to its maker for directing with an earnestness suggesting a pretentious 22-year-old. Having passed through the phases of Interesting Apprentice, Mad Genius, Chastened Bankrupt and Shameless Wage Slave, Coppola at 70 may be the world's oldest student filmmaker.
    • 65 Metascore
    • 50 Kyle Smith
    A barbell of a movie that carries some weight at either end. What's in between is purely utilitarian, though.
    • 43 Metascore
    • 50 Kyle Smith
    With its array of chases and shootouts and a sinister political plot, the movie at least holds your attention and keeps things brisk-ish. But every scene still bears the tags of the place from which it was stolen.
    • 46 Metascore
    • 50 Kyle Smith
    The bickering and mishaps make for a semi-enjoyable if low-impact film that may appeal to the kind of nostalgics who buy Time-Life collections of '60s songmeisters.
    • 55 Metascore
    • 50 Kyle Smith
    Tenderness and good intentions don't necessarily add up to a movie.
    • 64 Metascore
    • 50 Kyle Smith
    Lawless outback, shotgun-toting banditos and even roadside crucifixions somehow add up to an experience that’s about as thrilling as your average trip to the post office.
    • 68 Metascore
    • 50 Kyle Smith
    A central problem: Efron isn’t funny.
    • 49 Metascore
    • 50 Kyle Smith
    At best, the film serves up mild chuckles, with occasional cute jokes.
    • 67 Metascore
    • 50 Kyle Smith
    Jacquot's lavish décor and costumes are like the perfume the women use instead of bathing: They may cover up the willful carelessness at the center of the project, but it's still there.
    • 65 Metascore
    • 50 Kyle Smith
    Only intermittently does the film treat us to more than snippets of Beal’s woozy, misshapen folk-blues, but perhaps these are best taken in small doses anyway.
    • 52 Metascore
    • 50 Kyle Smith
    There isn't anything especially wrong with Who Do You Love but there's nothing here that cries out to be seen, either. Read more: http://www.nypost.com/p/entertainment/movies/who_do_you_love_VZgyGvsv0ruc9teHrzQIlJ#ixzz0kcaj8Mwl
    • 68 Metascore
    • 50 Kyle Smith
    A Quentin Tarantino knockoff from Japan, Why Don’t You Play in Hell? has some of the master’s nutty energy but little of his cleverness.
    • 56 Metascore
    • 50 Kyle Smith
    So the film is a head-spinning mix of dead babies and romantic dinners, pillow talk and mass executions. Blood and honey don't taste right together.
    • 35 Metascore
    • 50 Kyle Smith
    So swaddled in good intentions that it's like taking a very short journey cushioned on all sides by air bags. That are stuffed with cotton candy.
    • 84 Metascore
    • 50 Kyle Smith
    Even for a French drama, Summer Hours is so slow as to be practically still.
    • 45 Metascore
    • 50 Kyle Smith
    Director Marvin Kren delivers a lot of cheap scares, but the film doesn’t approach the dread-soaked suspense of the 1982 version of “The Thing.”
    • 41 Metascore
    • 50 Kyle Smith
    Mojave is a movie-length standoff between two detestable villains. One is a serial killer. The other is a filmmaker.
    • 62 Metascore
    • 50 Kyle Smith
    If “Once” was a bracing blast of cool spring water, Begin Again is a can of Fanta. If “Once” was a piano, Begin Again is a keytar. If “Once” was Otis Redding, Begin Again is Bruno Mars.
    • 73 Metascore
    • 50 Kyle Smith
    This atmospheric, cool-looking but gimpy thriller based on a John le Carré novel makes “Tinker, Tailor, Soldier, Spy” look like “22 Jump Street.”
    • 40 Metascore
    • 50 Kyle Smith
    Refreshing as it is to see the military portrayed as something other than a band of neurotics and creeps, there's a reason this brand of rah-rah and bang-bang didn't outlast the age of Whitesnake and Marty McFly.
    • 51 Metascore
    • 50 Kyle Smith
    Everyone's Hero, a tame CGI cartoon for the simple-minded: the very young, the very old and Yankee fans.
    • 42 Metascore
    • 50 Kyle Smith
    The film is never gripping, but at least it moves. Director Ron Howard does his best to spark excitement with cheesy horror-movie editing — brief shots of the damnation in store if the virus is unleashed — and there are a couple of twists to keep things lively. Nothing is what it seems, unless it seems ridiculous, in which case it’s exactly what it seems.
    • 59 Metascore
    • 50 Kyle Smith
    Too slow to be a guilty pleasure and too dumb to be an innocent one.
    • 63 Metascore
    • 50 Kyle Smith
    An Irish indie that is well-observed and well-acted - but ultimately, not much more exciting than the love lives of its lead characters.
    • 65 Metascore
    • 50 Kyle Smith
    Salt contains many conflicts: intelligence vs. counterintelligence, blond Angelina vs raven-haired and . . . well, that's about it.
    • 73 Metascore
    • 50 Kyle Smith
    Combines the sweet strangeness of "Fargo" with the existential panic of "Memento" and some Elmore Leonard tough talk. It all creates a cinematic tummy ache.

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