For 1,127 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 11.3 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
Average review score: 48
Highest review score: 100 Watchmen
Lowest review score: 0 Tim and Eric's Billion Dollar Movie
Score distribution:
1,127 movie reviews
    • 75 Metascore
    • 63 Kyle Smith
    Gritty visuals and a strong central performance elevate the routine crime story at the heart of Sweden's Easy Money, a sort of mash-up of "Goodfellas" and "The Great Gatsby."
    • 58 Metascore
    • 63 Kyle Smith
    As a French Resistance thriller, Free Men is so-so, but it is driven by a mischievously interesting idea: that Muslims and Jews have more in common than they normally allow.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Kyle Smith
    Like Provence itself, Auteuil is in no hurry to get anywhere, reveling instead in the southern region's brilliant light and whispering crickets. His tangy accent and evident fondness for his character make the picture enjoyable enough as it plods along, and the final act wraps things up on a fulfilling note.
    • 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.
    • 57 Metascore
    • 63 Kyle Smith
    First-time writer-director Andy Muschietti, an Argentine discovered by Guillermo del Toro, relies too much, especially in the early going, on horror clichés (sudden loud noises and jagged blasts of music), but he does make the tension hum.
    • 50 Metascore
    • 63 Kyle Smith
    France's friendship dramedy Little White Lies is such a blatant rip-off of a far better American movie that it could have been called "Le Big Chill."
    • 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.
    • 49 Metascore
    • 63 Kyle Smith
    Rio 2 is not what I would call Amazon prime, but it’s got enough silly songs and daffy critters to keep the little ones happy.
    • 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.
    • 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).
    • 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.
    • 48 Metascore
    • 63 Kyle Smith
    This is grim, bleak material that at times is monotonous, but its woe feels authentic.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Kyle Smith
    Soulful though the film is, melodrama gradually sneaks in, and then it takes over.
    • 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.
    • 60 Metascore
    • 63 Kyle Smith
    Provides a different take on its subject than many of us are accustomed to: Nelson Mandela is no Martin Luther King Jr., and he was far more radical than even Malcolm X. If you’re under the impression that his ideas got him imprisoned for 25 years, think again: It was his bombs.
    • 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.
    • 69 Metascore
    • 63 Kyle Smith
    What begins as an alert and witty barbed satire degenerates into a senseless bloodbath in the black comedy Sightseers.
    • 73 Metascore
    • 63 Kyle Smith
    An uneasy mix of Richard Linklater and Abbott and Costello, Prince Avalanche is an oddment, but one that brings some small, peculiar pleasures.
    • 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.
    • 88 Metascore
    • 63 Kyle Smith
    Mostly a routine love story elevated by one of the year’s most magnetic performances.
    • 51 Metascore
    • 63 Kyle Smith
    All of this is secondary, even tertiary material, even if much of it is interesting and even wrenching to behold.
    • 69 Metascore
    • 63 Kyle Smith
    Morris is likely to disappoint liberals in The Unknown Known by failing to take down an apparently weak target.
    • 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.
    • 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.
    • 49 Metascore
    • 63 Kyle Smith
    An intriguingly Hitchcockian premise gradually takes on a preposterous air in the art-world noir The Best Offer.
    • 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.
    • 76 Metascore
    • 63 Kyle Smith
    A clever setup that harkens back to “You’ve Got Mail” and “The Shop Around the Corner” doesn’t quite pay off in India’s warm-hearted comedy-drama The Lunchbox.
    • 56 Metascore
    • 63 Kyle Smith
    This is a useful primer on what went wrong — and right — in 2008.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Kyle Smith
    Turns out to be a dour, shouty atheist manifesto. With a change of scenery it could have been called "Godless in Seattle."
    • 66 Metascore
    • 50 Kyle Smith
    It's the Food Network meets The Weather Channel meets . . . the Scary Doomsday Preachers Channel.
    • 58 Metascore
    • 50 Kyle Smith
    Having seen the trailer for Brothers and now the finished film, I feel as though I just watched the trailer twice.
    • 84 Metascore
    • 50 Kyle Smith
    Even for a French drama, Summer Hours is so slow as to be practically still.
    • 83 Metascore
    • 50 Kyle Smith
    Drag Me to Hell is pure cheese. Goat cheese.
    • 34 Metascore
    • 50 Kyle Smith
    The Fourth Kind has a clever gimmick and nothing more.
    • 56 Metascore
    • 50 Kyle Smith
    Edward's a remarkable young gentleman when you consider the hell he's been through: It turns out he's always 17, his fate to keep repeating high school, forever and ever. If that's my only option, kindly burn me at the stake.
    • 58 Metascore
    • 50 Kyle Smith
    The strange thing about the movie is its idea that such couples are rare flowers. But you can scarcely take a step in Seattle or San Francisco or Los Feliz without meeting them in hordes.
    • 70 Metascore
    • 50 Kyle Smith
    Watching this movie is like listening to Michael Jackson tell you what real men are like.
    • 51 Metascore
    • 50 Kyle Smith
    300
    Sensory gluttony is reason enough to see a movie, and few epics overstuff the eyes like this one.
    • 67 Metascore
    • 50 Kyle Smith
    The movie is a gentle British ensemble comedy much like "Four Weddings and a Funeral" - minus the four weddings and four-fifths of the wit.
    • 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.
    • 52 Metascore
    • 50 Kyle Smith
    Some movies present their whole story in a two-minute trailer, but Gridiron Gang says it all in its poster.
    • 66 Metascore
    • 50 Kyle Smith
    A buffet of dumb and degrading stunts halfway between Looney Tunes and Abu Ghraib?
    • 44 Metascore
    • 50 Kyle Smith
    To kill 80 minutes, the movie has to pad itself with several dull speeches and stagy moments. The worst? How about when the five men, who have ample reason to fear each other and are facing a life-or-death reckoning, whistle "Ode to Joy" together like a bunch of Whiffenpoofs?
    • 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.
    • 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.
    • 53 Metascore
    • 50 Kyle Smith
    Has the kind of soulful subject matter that will strike some as profoundly emotional, but it gets a flag for roughing the tear ducts. This isn't football - it's cornball.
    • 44 Metascore
    • 50 Kyle Smith
    As DJ, Columbus Short eases his way through the movie without trying to impress us too much, which is welcome, but he's also a little bland around the edges.
    • 28 Metascore
    • 50 Kyle Smith
    The Hitcher is the Jessica Simpson of psycho killer flicks - cheerfully in touch with its own brainlessness.
    • 45 Metascore
    • 50 Kyle Smith
    Dividing its loyalties between documentary and fictional narrative, it lacks the advantages of belonging to either side.
    • 49 Metascore
    • 50 Kyle Smith
    Billed as a comedy about a single dad with three girls, the movie is essentially another sudser about the plight of upscale black women in Atlanta.
    • 55 Metascore
    • 50 Kyle Smith
    It follows exactly the same path as both "Glory Road" (except that was basketball) and "Gridiron Gang" (football).
    • 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.
    • 36 Metascore
    • 50 Kyle Smith
    This stuff is strictly run of DeMille.
    • 54 Metascore
    • 50 Kyle Smith
    Alan Rickman holds the film together.
    • 66 Metascore
    • 50 Kyle Smith
    IF you like rap, you'll probably enjoy The Hip Hop Project. I don't like rap.
    • 45 Metascore
    • 50 Kyle Smith
    The silliest sci-fi movie since "An Inconvenient Truth."
    • 59 Metascore
    • 50 Kyle Smith
    The Great Playwrights for Dummies series that began with "Shakespeare in Love" continues with Molière, a French clone of that grating and smarmy Best Picture winner.
    • 48 Metascore
    • 50 Kyle Smith
    The tone is good-natured enough to make a simple movie semi-watchable.
    • 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.
    • 42 Metascore
    • 50 Kyle Smith
    But improbable situations, heavy reliance on coincidence and an improbable climax nearly tip the film into TV-movie territory.
    • 55 Metascore
    • 50 Kyle Smith
    Rendition has the depth of a bumper sticker without the brevity.
    • 59 Metascore
    • 50 Kyle Smith
    Too slow to be a guilty pleasure and too dumb to be an innocent one.
    • 66 Metascore
    • 50 Kyle Smith
    The documentary Darfur Now proves that - no matter how im portant the subject matter - following various people around with a camera doesn't necessarily make a film.
    • 36 Metascore
    • 50 Kyle Smith
    Since the thing is increasingly impatient to jump forward to the next big torture set piece, there isn't any time to establish anyone's character. Butcher shops are bloody, too, but they're not scary.
    • 58 Metascore
    • 50 Kyle Smith
    A pretentious left-wing monster movie with about 15 minutes of alarming creatures and a whole lot of bickering, is a pre-9/11 story which Stephen King wrote eons ago. It operates in the post-9/11 era about as well as a Studebaker at the Daytona 500.
    • 43 Metascore
    • 50 Kyle Smith
    If you've seen "Gone With the Wind," you've seen what Love in the Time of Cholera isn't.
    • 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
    I understood two words of Youth Without Youth: "The End."
    • 71 Metascore
    • 50 Kyle Smith
    Adults will sniff out a general air of phoniness - the period detail isn't particularly convincing, and the Scottish factor is overcooked to the point where the script starts to resemble the national cuisine.
    • 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.
    • 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."
    • 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.
    • 66 Metascore
    • 50 Kyle Smith
    Romero's we're-all-doomed-and-maybe-we-deserve-it pessimism is so extreme he would fit right in with a real group of brain-eaters: the French.
    • 41 Metascore
    • 50 Kyle Smith
    The last time I saw this much talent in a losing cause was Super Bowl XLII. Trying to mix farce with heart, Drillbit Taylor is instead as soulful as Kenny G and as wacky as public television.
    • 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.
    • 70 Metascore
    • 50 Kyle Smith
    By the end, we wind up pretty much where we were four years ago when the pictures first appeared in the papers: Inexperienced troops did disgusting things, but it's a mystery who else knew.
    • 66 Metascore
    • 50 Kyle Smith
    An '80s coming-of-age comedy with more energy than ideas.
    • 74 Metascore
    • 50 Kyle Smith
    Mongol really isn't worth leaving your yurt for.
    • 61 Metascore
    • 50 Kyle Smith
    Wraps a sari around the kind of suffering-housewife picture that became a cliché 30 years ago.
    • 31 Metascore
    • 50 Kyle Smith
    When I go to a Mummy movie, I don't want ninjas and yetis and men turned to stone. I want embalmed corpses and hieroglyphics. I want pharaoh. I want pyramids and sphinxes and Ace bandages. Did "Crouching Tiger, Hidden Dragon" take place on the Nile?
    • 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.
    • 31 Metascore
    • 50 Kyle Smith
    The attempts to out-Matrix "The Matrix," with bullet-time super-slo mo, are staged with such theatrics that they're unintentionally funny. This movie also has "Blade Runner" on its mind, and Raymond Chandler, but mostly it's a weak little sister to "Sin City."
    • 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
    The bulk of the movie consists of scene after scene coyly setting up the same ironic juxtaposition, in the exact same way, about innocence vs. Nazism.
    • 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.
    • 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.
    • 43 Metascore
    • 50 Kyle Smith
    The horror flick The Uninvited is not unclever - but it is unoriginal.
    • 45 Metascore
    • 50 Kyle Smith
    The film gets one star from me for the admirable brevity of its running time and another for the definite article in its title, seemingly an implicit promise that there will be no sequel.