For 1,278 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 11.5 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Another Year
Lowest review score: 0 Brother, Can You Spare a Dollar
Score distribution:
1,278 movie reviews
    • 87 Metascore
    • 63 Kyle Smith
    Though far too long for its wisp of a plot, this stylish film has a nerve-cinching grip that makes it more alarming than most horror flicks, let alone most movies about a couple having a tiff.
    • 58 Metascore
    • 63 Kyle Smith
    A decent football movie, just about good enough to be the 40th best episode of "Friday Night Lights" . . . which has aired 39 episodes.
    • 35 Metascore
    • 63 Kyle Smith
    Funny and promising as the first act is, the entire second act is pretty awful, as the script chucks in one tiresome, unlikely gag after another.
    • 66 Metascore
    • 63 Kyle Smith
    A disarming but low-impact documentary that amounts to an odd dual biopic, Shepard & Dark can feel a bit like intruding on a conversation between two old friends.
    • 58 Metascore
    • 63 Kyle Smith
    The big new addition in Shrek the Third is Justin Timberlake as the high school-age future King Arthur, but if Timberlake contributed a song to the soundtrack it would have to be "WhinyBack."
    • 37 Metascore
    • 63 Kyle Smith
    Annabelle is mostly a grab into the Great Big Bag O’ Horror Clichés: sound-bombs of shrieking violins explode randomly, doors slam unbidden, rocking chairs creak by themselves, machines suddenly whir to life.
    • 67 Metascore
    • 63 Kyle Smith
    The movie is just a situation salad, at least until the end, when things start to pull together a bit.
    • 49 Metascore
    • 63 Kyle Smith
    The movie jogs along nicely without ever getting a case of the stupids; far from being a bloated “John Carter,” it’s just a pared-down yarn of survival: “Die Hard” on a planet.
    • 64 Metascore
    • 63 Kyle Smith
    The film is primarily interested in the music that accompanied this turmoil, which is a bit like covering the American Revolution with the focus on the wigs Washington and Jefferson wore.
    • 52 Metascore
    • 63 Kyle Smith
    You may protest that this is just a splattery feature-length sketch, and you’d be absolutely right. Why not have a laugh at this absurdly trite concept? I’ll take the cheesy breeziness of “CVZ” over the frowny somberness of “World War Z” any day.
    • 67 Metascore
    • 63 Kyle Smith
    A chipper documentary sure to please seniors.
    • 59 Metascore
    • 63 Kyle Smith
    Run All Night is routine in its contours, occasionally sloppy in its editing and filled with the usual implausibilities.
    • 84 Metascore
    • 63 Kyle Smith
    Director Alfonso Cuarón has a vision so mesmerizingly terrible that it alone - at least, for those who enjoy a gorgeous nightmare - is reason enough to see the film.
    • 56 Metascore
    • 63 Kyle Smith
    An interesting failure, not a fascinating one.
    • 64 Metascore
    • 63 Kyle Smith
    Soulful though the film is, melodrama gradually sneaks in, and then it takes over.
    • 43 Metascore
    • 63 Kyle Smith
    The highlight is a meta touch: A funny on-screen résumé is posted each time we meet a new character.
    • 46 Metascore
    • 63 Kyle Smith
    Picture "Raging Bull" with a sleazy prep from the Brooklyn hipsteropolis of Williamsburg, and you'll get the idea of The Comedy, a character study that tries to make the revolting compelling.
    • 51 Metascore
    • 63 Kyle Smith
    This digitally tricked-out fairy tale makes for a reasonably engaging kids’ fantasy, but at best we’re talking about a junior varsity “Lord of the Rings.” It’s March. What did you expect?
    • 57 Metascore
    • 63 Kyle Smith
    It's good-natured myth-making cut into kid-size pieces.
    • 69 Metascore
    • 63 Kyle Smith
    Don Cheadle has a fine time jiving through Talk to Me - accent, please, on the middle word. It's a black "Good Morning, Vietnam."
    • 73 Metascore
    • 63 Kyle Smith
    It may be impossible to make an uninteresting documentary about Hunter S. Thompson, but is it unfair to ask Gonzo for more Hunter and less Jimmy Carter?
    • 54 Metascore
    • 63 Kyle Smith
    Familiar elements such as a dark family secret, a ghost and a Ouija board start to seem trite after a while, and the third act is a little ridiculous, but debut writer-director Nicholas McCarthy does a lot with a little and seems fully prepared to handle a big-studio horror project.
    • 64 Metascore
    • 63 Kyle Smith
    Doesn't do enough with a righteous premise.
    • 66 Metascore
    • 63 Kyle Smith
    A sun-splashed noir that loses its appeal in the last act.
    • 56 Metascore
    • 63 Kyle Smith
    Slightly radical in portraying high schoolers as human beings of normal niceness and intelligence. That means this winsome comedy is a little low in the stakes department, not to mention predictable, but it gets an “A” for charm.
    • 68 Metascore
    • 63 Kyle Smith
    As always in Veber's films, the predictability is part of the fun.
    • 78 Metascore
    • 63 Kyle Smith
    Despite all of the hideous critters Hellboy encounters, there is a hint that things are considerably weirder elsewhere.
    • 70 Metascore
    • 63 Kyle Smith
    For rock fans, hearing many Led Zeppelin and U2 classics on a theater sound system is worth the price of a ticket.
    • 81 Metascore
    • 63 Kyle Smith
    If Top Five doesn’t go deep, though, it is intermittently very funny.
    • 67 Metascore
    • 63 Kyle Smith
    Freaked-out funky weirdness starts to happen all around him (Rockwell).
    • 66 Metascore
    • 63 Kyle Smith
    Fly Away is more situation than story, though, and the Germann character's welcoming, almost saintly vibe doesn't fit.
    • 58 Metascore
    • 63 Kyle Smith
    Baseball movies tend to be lyrical, deeply felt, aggressively metaphorical and (consequently) terrible, but Trouble With the Curve has something most others lack: Eastwood's superb, cruel sense of humor, which reaches all the way back to "Every Which Way But Loose."
    • 74 Metascore
    • 63 Kyle Smith
    Struggles to maintain a sober, evenhanded tone about an utterly ridiculous story.
    • 72 Metascore
    • 63 Kyle Smith
    In the House promises to be a social satire with a flash of Hitchcockian menace, but gradually it turns into a routine thumb-sucker on reality versus fiction.
    • 58 Metascore
    • 63 Kyle Smith
    Although the script works in a couple of pages of collegiate-level ethical debate about "the question of German guilt," what the movie is really interested in is the question of German sex. So think of it as "Schindler's Lust."
    • 30 Metascore
    • 63 Kyle Smith
    I enjoyed the visual effects used to create some hellish creatures and the amusing nods to "The Exorcist" - cranial rotation, even a spooky staircase. But the movie slips in the last act.
    • 38 Metascore
    • 63 Kyle Smith
    Frears has a lot of fun with the bad tempers and high spirits of this crew of adrenaline junkies, and though the story falls a little flat, the script is sprinkled with dry wit.
    • 44 Metascore
    • 63 Kyle Smith
    It turns out that constraint is really what the show is all about, or to put it another way, I'm disappointed that they turned my horny-teen comedy into a gross-out comedy.
    • 61 Metascore
    • 63 Kyle Smith
    Soulfully directed by Michael Cuesta ("L.I.E."), Roadie is short on narrative momentum, but it's a perfectly attuned character study of this rock relic and his middle-aged sorrows.
    • 56 Metascore
    • 63 Kyle Smith
    The mild British wackiness is more droll than funny, but the movie is a pleasant cup of tea.
    • 37 Metascore
    • 63 Kyle Smith
    This jagged blob of a movie features a solo dance in the 1930s scored to the Sex Pistols' "Pretty Vacant," several scenes of a rich Manhattan woman chatting with the ghost of Wallis Simpson and a Sotheby's auction that draws a crowd reaction of the kind associated with "Family Feud." Yet I found the movie fascinating. Except for the boring bits.
    • 54 Metascore
    • 63 Kyle Smith
    Initially, this low-budget film writes a lot of checks on the First National Bank of Whimsy, but I was astonished when none of them bounced.
    • 64 Metascore
    • 63 Kyle Smith
    It has a dogged all-night charm and a sense of who its audience is.
    • 50 Metascore
    • 63 Kyle Smith
    No matter how good Blethyn is at playing up the sweet hurt of a woman who is well on the decline but never made it in the first place, your admiration for her shrieking-and-drinking breakdown scenes is likely to be tested after about the fifth go-round.
    • 59 Metascore
    • 63 Kyle Smith
    The film is well shot and edited, backed with a bouncy hip-hop soundtrack and full of pep.
    • 65 Metascore
    • 63 Kyle Smith
    For gays who remember the nightmare, Sex Positive may be too depressing to watch. But the movie strikes a cautionary tone for a younger generation that, it says, isn't taking the HIV threat seriously.
    • 66 Metascore
    • 63 Kyle Smith
    Stieve and Glosserman may yet strike a vein: This thing screams out for a Hollywood remake with, say, writers from "The Simpsons."
    • 57 Metascore
    • 63 Kyle Smith
    The script depends heavily on familiar stand-up comedy bits, but it's full of sharp wisecracks and slacker charm.
    • 49 Metascore
    • 63 Kyle Smith
    Any prison-break yarn that includes Arnold Schwarzenegger delivering the line “You hit like a vegetarian” is OK by me.
    • 75 Metascore
    • 63 Kyle Smith
    In Listen Up Philip, the tiny fury of Jason Schwartzman suggests his “Rushmore” character is now 15 years older and a middling Brooklyn novelist. His deadpan misanthropy is good for some acerbic laughs in a movie that starts appealingly but gradually comes to seem closed and stuck.
    • 68 Metascore
    • 63 Kyle Smith
    This is one of those nature documentaries that’s pretty much solely interested in being entertaining, and so is cleverly edited to look like the linear story of a mother (dubbed Sky) and her newborns (Scout and Amber).
    • 41 Metascore
    • 63 Kyle Smith
    I do get a chuckle out of movies with wildly inappropriate behavior, rude language and ultramayhem, especially when they involve children, but Kick-Ass 2 sometimes felt like being trapped in a room with the funniest guy in seventh grade.
    • 80 Metascore
    • 63 Kyle Smith
    This strange and eerie noir is more a collection of knockout scenes than a fully realized story.
    • 78 Metascore
    • 63 Kyle Smith
    Ex Machina offers plenty of intriguing style but a spotty story line.
    • 72 Metascore
    • 63 Kyle Smith
    Long on atmosphere and less sentimental about poverty than “Beasts of the Southern Wild,” the film carries a potent charge of authenticity.
    • 74 Metascore
    • 63 Kyle Smith
    Ends up feeling familiar.
    • 76 Metascore
    • 63 Kyle Smith
    To really pull off Greenberg would require a lead performance from a master actor. The actor it stars is . . . Ben Stiller.
    • 47 Metascore
    • 63 Kyle Smith
    The gags vary - a tattooed-breast mystery kinda sags - but there are lots of laughs.
    • 77 Metascore
    • 63 Kyle Smith
    Phoenix, who was so subtle in “Her” and brilliantly tortured in “The Master,” has lapsed back into the shouty bombast style of his “Gladiator” days, but his efforts to make the character seem layered are to little avail, especially given that Gray waits until the end to try to make him a tragic figure instead of merely a sleazy one.
    • 56 Metascore
    • 63 Kyle Smith
    This is a useful primer on what went wrong — and right — in 2008.
    • 22 Metascore
    • 63 Kyle Smith
    Even when scary, Murray is somehow funny, too, and he steals the show as always.
    • 54 Metascore
    • 63 Kyle Smith
    Rookie filmmaker Michael Maren’s script isn’t deep, but it’s heartfelt without being sticky, suggesting that the best way to deal with aging parents is to savor every tender frustration while you can.
    • 43 Metascore
    • 63 Kyle Smith
    As a spooky midnight movie, The Wolfman is worth curling up with.
    • 89 Metascore
    • 63 Kyle Smith
    Some documentaries are a fervent search for truth; others are a fervent search for snickers. This one is the latter, providing via interviews and old film clips a Greatest Hits for Bush haters.
    • 53 Metascore
    • 63 Kyle Smith
    The paranoia is as thick and luscious as that Reddi-wip, and it's served from both left and right.
    • 47 Metascore
    • 63 Kyle Smith
    Lakeview Terrace holds your interest, though the bad faith on all sides makes it something of an endurance test.
    • 66 Metascore
    • 63 Kyle Smith
    In the end (which continues into the credits), I was left thinking McDonagh can do better than this, and yet I was slightly more agog with admiration than peevish with frustration. Most of all, I wanted to see the film again.
    • 75 Metascore
    • 63 Kyle Smith
    The second half, though, is chilling, as the trio’s actions come into sharp, painful focus. Too bad Reichardt has no ending.
    • 52 Metascore
    • 63 Kyle Smith
    Yet what makes this movie is the digital effects. It's got all the heart of a demolition derby.
    • 66 Metascore
    • 63 Kyle Smith
    The film makes little sense (the couple refuses to ride subways, but Metro-North is OK), but it's a diverting conversation piece/freak show.
    • 81 Metascore
    • 63 Kyle Smith
    As the two coaches head for a faceoff in a climactic live TV interview, writer Morgan starts to seem like a rip-off -- of himself.
    • 73 Metascore
    • 63 Kyle Smith
    Turing’s tale needs to be more widely known, and while The Imitation Game may not be a great film, it is an important one.
    • 60 Metascore
    • 63 Kyle Smith
    I liked that The Wolverine (which saves a nifty twist for a surprise scene in the middle of the end credits) turns down the volume on the usual din of colliding mutant superpowers.
    • 65 Metascore
    • 63 Kyle Smith
    Mostly, this frantic film is yet another attempt at “Spinal Tap” silly. At times it goes for the heart of “Almost Famous,” and its sense of rock is that of a barely acquainted observer.
    • 64 Metascore
    • 63 Kyle Smith
    Swank's character, Erin Gruwell, is a real educator who, in the years following the Rodney King riots, coaxed her students into writing about their bullet-riddled lives.
    • 72 Metascore
    • 63 Kyle Smith
    Visually dazzling, intermittently funny.
    • 44 Metascore
    • 63 Kyle Smith
    A snarly Euro-thriller with crust under its fingernails and bad breath. It doesn't care if you like it, which is why I kind of do.
    • 61 Metascore
    • 63 Kyle Smith
    For a 90-minute movie, Margaret has a thin story. So it's unfortunate that it runs 2 1/2 hours.
    • 62 Metascore
    • 63 Kyle Smith
    Carlyle gives a quietly engaging performance as a Golden State farmworker with a secret in the likable indie California Solo.
    • 85 Metascore
    • 63 Kyle Smith
    The film, then, places a heavy hand on the scales of justice as it winds up with a fuzzy plea — an implied demand for a second, federal civil rights trial for the cop, who got a light sentence. But the shooting wasn’t a racist one.
    • 64 Metascore
    • 63 Kyle Smith
    A reasonably uplifting kids movie if you don't think about it too much. I get paid to think about things too much, and effective as the movie is, it nevertheless left me slightly put off.
    • 48 Metascore
    • 63 Kyle Smith
    Though the film, based on a Ron Rash novel, doesn’t quite deliver on all its grim portents, debut director David Burris creates a neo-Faulknerian atmosphere of indelible sin in a story that rises above cliché. As Wyle’s character puts it, “The South was never one thing.”
    • 88 Metascore
    • 63 Kyle Smith
    Mostly a routine love story elevated by one of the year’s most magnetic performances.
    • 61 Metascore
    • 63 Kyle Smith
    Tina Fey is adorable as a gulag guard who yearns to sing, but even better is Ty Burrell as a Clouseau-like Interpol inspector.
    • 32 Metascore
    • 63 Kyle Smith
    Buscemi is appealing as always, but the movie, is only sporadically funny.
    • 43 Metascore
    • 63 Kyle Smith
    An appropriately respectful and dignified biopic.
    • 59 Metascore
    • 63 Kyle Smith
    It's a shame that, after nearly 40 years of writing about rock, Cameron Crowe is receptive to the clichés of the genre.
    • 42 Metascore
    • 63 Kyle Smith
    If you can overlook Andie MacDowell's Mitteleuropa accent as a Jewish Holocaust survivor (I know: big if), the cinematic roman a clef Mighty Fine has some quiet charms.
    • 57 Metascore
    • 63 Kyle Smith
    If you're old enough to pluck gray hairs, you may find yourself rubbing away a few tears.
    • 67 Metascore
    • 63 Kyle Smith
    Although it has affecting moments, the film can't quite decide whether it's about aging or about the effects of war on the home front.
    • 70 Metascore
    • 63 Kyle Smith
    Quiet, sober and tense, the movie makes some interesting points -- contrasting the frenzied hookups of the two men with the butcher's rote, dismal lovemaking with his wife as their bodies are carefully hidden under sheets -- but it lacks the emotional firepower of "Brokeback Mountain."
    • 70 Metascore
    • 63 Kyle Smith
    Doesn't have as much behind-the-scenes juice as you'd hope.
    • 60 Metascore
    • 63 Kyle Smith
    An honorable, sober but completely unnecessary take on the Dickens novel, Great Expectations serves as a fine introduction to the story but won’t excite those familiar with previous versions.
    • 48 Metascore
    • 63 Kyle Smith
    Cusack shows that he can still play the sensitive-but-fun guy until the ladies sigh and the men take notes.
    • 48 Metascore
    • 63 Kyle Smith
    Green rules the picture with her nutty stare and her willingness to get nasty in a hot sex scene, but the movie’s main weak point is the Greek general Themistokles.
    • 57 Metascore
    • 63 Kyle Smith
    As frightening as it intends to be, but not enjoyably so.
    • 67 Metascore
    • 63 Kyle Smith
    The Hunger Games may be derivative, but it is engrossing and at times exciting. Implicitly, it argues that "The Truman Show" might have been improved by Ed Harris lobbing fireballs at Jim Carrey, and it's now clear what "American Idol" was missing all those years: a crossbow for Simon Cowell.
    • 55 Metascore
    • 63 Kyle Smith
    A chilling pulp movie told with a pavement-eye view of the dregs of humanity.
    • 34 Metascore
    • 63 Kyle Smith
    Kim Basinger gives one of her strongest performances in Even Money, a kind of "Crash" fueled by gambling instead of racism.

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