For 1,473 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 Project Nim
Lowest review score: 0 The Dressmaker
Score distribution:
1473 movie reviews
    • 54 Metascore
    • 63 Kyle Smith
    In To Rome With Love, Allen approaches the leitmotif in a strange, oblique and interesting way. I fear, though, that the Italian entry in his "Let's Go: Grab Some Euro-Film Subsidies" period will be remembered as being forgettable.
    • 62 Metascore
    • 63 Kyle Smith
    Bug
    Buzzes around in random menace for an hour until its third act, when - zzzzzt! - it flies straight into the zapper.
    • 31 Metascore
    • 63 Kyle Smith
    That's My Boy is pretty raunchy, and by "pretty," I mean "amazingly," as in Howard Stern- or Seth MacFarlane-style gags.
    • 63 Metascore
    • 63 Kyle Smith
    The film has enough funny lines and weird situations - some comedy business with a sex chair lovingly constructed by the Clooney character is the highlight - that it could age into a cult film like "The Big Lebowski."
    • 47 Metascore
    • 63 Kyle Smith
    Alfred Molina gives a warm and engaging performance as an occupying British soldier.
    • 32 Metascore
    • 63 Kyle Smith
    Borrowing a few tricks from Martin Scorsese, the film isn’t a slavish imitation but an engrossing and grounded drama. It’s a pity, then, that director Federico Castelluccio, best known as Furio of “The Sopranos,” can’t deliver a powerful conclusion.
    • 84 Metascore
    • 63 Kyle Smith
    All three segments are heavy on blame-America speeches, which may be a fair snapshot of Iraqi opinion, but it's strange how fond Longley seems to be of Saddam Hussein.
    • 63 Metascore
    • 63 Kyle Smith
    One of the pleasures of films about being stuck in a place -- "The Wicker Man" is maybe the best example -- comes from the skill with which the writers keep their protagonist locked in his box. On this test, The Last Exorcism pretty much flunks.
    • 41 Metascore
    • 63 Kyle Smith
    Thanks to an unexpected twist and a clever motivation lurking in the back story of the super-villain, G-Force has enough going on to more or less maintain grown-up interest, and there's plenty to please the kiddies.
    • 76 Metascore
    • 63 Kyle Smith
    The film is elegantly done, mainly because it wisely expends most of its energy on Alicia Vikander’s face.
    • 39 Metascore
    • 63 Kyle Smith
    It's fine for kids, though, and it doesn't try too hard.
    • 62 Metascore
    • 63 Kyle Smith
    This is a one-joke skit that trots in a straight line, and your enjoyment of it will depend entirely on how many times you need to see gonzo sheep rip out human entrails.
    • 56 Metascore
    • 63 Kyle Smith
    Hitler didn’t actually snub Jesse Owens at the 1936 Olympics, but the story is too good not to tell, so Race tells it anyway — adding the (true) detail that Owens was snubbed back home. By someone called “the White House,” because this supposedly truth-telling movie can’t bear to spell out the words Franklin D. Roosevelt.
    • 61 Metascore
    • 63 Kyle Smith
    Not many surprises are in store, but the film’s affection for the dramatist is pleasing.
    • 64 Metascore
    • 63 Kyle Smith
    The best Parisian action movie of the week is District 13: Ultimatum, a serviceable thriller with a lefty message.
    • 64 Metascore
    • 63 Kyle Smith
    So what starts out as fascinating sci-fi becomes just fi, and winds up pulp fi.
    • 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
    What begins as an alert and witty barbed satire degenerates into a senseless bloodbath in the black comedy Sightseers.
    • 41 Metascore
    • 63 Kyle Smith
    The insult comedy is sometimes brilliant.
    • 51 Metascore
    • 63 Kyle Smith
    This Michael Mann-directed film is full of Michael Mann-isms, many of them familiar from, and done better in, “Heat.”
    • 94 Metascore
    • 63 Kyle Smith
    Stretched both timewise and for plausibility.
    • 58 Metascore
    • 63 Kyle Smith
    I love the series, but Jason Bourne is the worst of the five.
    • 72 Metascore
    • 63 Kyle Smith
    The film's attempt at a sort of beautiful anguish works best in its middle section. It takes far too long to get going, and it doesn't have much of an ending.
    • 68 Metascore
    • 63 Kyle Smith
    "Babe" was a classic because of its gentle simplicity. Charlotte's Web, with its insistently "magical" theme music, an overbearing climax and a trough full of bad jokes, is merely adequate.
    • 71 Metascore
    • 63 Kyle Smith
    The film is occasionally heavy-handed, and the priest character is almost absurdly saintly, but there is an awful power to scenes such as one in which the Europeans are evacuated on trucks.
    • 55 Metascore
    • 63 Kyle Smith
    The movie has enough big-city wickedness and merry cruelty to keep things skittering unpredictably.
    • 66 Metascore
    • 63 Kyle Smith
    Though thin on story, the film shows poise and vision, using bleak cinema-realité techniques with chilling effect. Campos promises to be heard from again.
    • 59 Metascore
    • 63 Kyle Smith
    The movie is at its best when Gekko gets back into the game, with his impish smile and his perfect hair.
    • 52 Metascore
    • 63 Kyle Smith
    Its characters are likable enough to settle in with for a pleasant hour and a half.
    • 65 Metascore
    • 63 Kyle Smith
    On a technical level Buried is impressive, at times blisteringly suspenseful.
    • 69 Metascore
    • 63 Kyle Smith
    There can only ever be one Bad Lieutenant: Harvey Keitel. In Bad Lieutenant: Port of Call New Orleans, Nicolas Cage, pretend tough guy (Malibu accent, long floppy coiffure, nervous smile), is more like the Bad Used-Car Salesman.
    • 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."
    • 58 Metascore
    • 63 Kyle Smith
    The gorgeous heartache of songs by the group Belle and Sebastian gives God Help the Girl its dreamy appeal, but thanks to a poky story line it essentially amounts to a series of music videos.
    • 63 Metascore
    • 63 Kyle Smith
    The atmosphere is convincing - there is an "Eight Mile" desperation to Raya's plight - but nothing makes sense.
    • 57 Metascore
    • 63 Kyle Smith
    The chatty killer and the nervy atmosphere are both so depraved that the film, though it contains hardly any explicit violence, is like stepping into a blood Jacuzzi, and there is a biblical severity to the ending.
    • 72 Metascore
    • 63 Kyle Smith
    This one-sided documentary, told entirely by supporters, paints Swartz as a hero pursued by malign forces.
    • 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."
    • 57 Metascore
    • 63 Kyle Smith
    Possibly the least sexy vampire flick ever to crawl out of the crypt (it never occurs to anyone that biting someone's neck is kinda intimate; the act is strictly utilitarian), but it's unusually detailed in its imagining.
    • 36 Metascore
    • 63 Kyle Smith
    For short stretches, the movie has a touch of surreal "Office Space" brilliance, but it's broadly acted, its characters are thin, and the production values are ragged. Still, it's hard to resist its goofy hostility: "You're like the drummer from REO Speedwagon. Nobody knows who you are."
    • 64 Metascore
    • 63 Kyle Smith
    As familiar as the costumes and decoration are, the conflicts are unsettlingly vivid and strange.
    • 28 Metascore
    • 63 Kyle Smith
    Though a bit stiff in the joints and acted by an undistinguished cast amid TV-movie trappings, this low-budget adaptation of Ayn Rand's novel nevertheless contains a fire and a fury that makes it more compelling than the average mass-produced studio item.
    • 60 Metascore
    • 63 Kyle Smith
    Beautifully photographed and acted, with a somberly affecting tone, the film, by Derek Cianfrance, is nevertheless marred by severely contrived elements.
    • 64 Metascore
    • 63 Kyle Smith
    The script, narrated by Queen Latifah, is so embarrassingly dorky (it was co-written by Kristin Gore) that it's like Fred Rogers gone hip-hop.
    • 72 Metascore
    • 63 Kyle Smith
    Reflective but only mildly engaging dramedy.
    • 65 Metascore
    • 63 Kyle Smith
    I won't reveal the twist -- but the marketing crew is aware that their only chance of selling this non-mind-blowing documentary about the people you might meet on Facebook is by promising a big surprise.
    • 67 Metascore
    • 63 Kyle Smith
    Fascinating though it is, the movie is thin on historical materials.
    • 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.
    • 75 Metascore
    • 63 Kyle Smith
    It’s photographically yummy, heaving with sun-dappled vistas and four-star dining. The boys float around a bit in the sea and enjoy homemade pasta while trundling out their impressions of, say, Marlon Brando.
    • 55 Metascore
    • 63 Kyle Smith
    The beginning and end are classics.
    • 49 Metascore
    • 63 Kyle Smith
    Demolition, written by Bryan Sipe is, like director Jean-Marc Vallée’s previous films “Wild” and “Dallas Buyers Club,” a tale of interior repair sought through obsessive and near-penitential acts, but it’s stranger and at times more interesting than those other two.
    • 34 Metascore
    • 63 Kyle Smith
    Despite the pace, though -- pedal, have you met my friend metal? -- Ninja Assassin still has some of its best stuff left at the end, when the master returns to demonstrate his extra-special, super-most-deadliest technique.
    • 42 Metascore
    • 63 Kyle Smith
    It's all a gorgeous error, a bonfire of overreach.
    • 69 Metascore
    • 63 Kyle Smith
    Morris is likely to disappoint liberals in The Unknown Known by failing to take down an apparently weak target.
    • 59 Metascore
    • 63 Kyle Smith
    It’s adequately visionary, it’s routinely spectacular, it breathes fire and yet somehow feels room-temperature.
    • 59 Metascore
    • 63 Kyle Smith
    The movie putters along as softly as Wendy drives. Despite its lack of narrative horsepower, though, its character sketches are pleasing. And amusing.
    • 48 Metascore
    • 63 Kyle Smith
    It's got enough going on to sustain five blockbuster thrillers. That is its blessing and its curse.
    • 48 Metascore
    • 63 Kyle Smith
    A black-and-white fantasia shot against a bright backdrop of famous sites, and it has potential to be a cult hit on its dreamy-hipster look alone.
    • 44 Metascore
    • 63 Kyle Smith
    Any Christian movie dealing in miracles is likely to be too sweet for some but this one is gently moving rather than pushy about its religious elements.
    • 57 Metascore
    • 63 Kyle Smith
    There's plenty of smash, thunder and brawl for the kids. But in taking a bit of Hulk and a bit of Superman while re-imagining Excalibur as a hammer, Thor amounts to putting new horns on old ideas. And the screenplay sounds like the lyrics of Spinal Tap.
    • 47 Metascore
    • 63 Kyle Smith
    This serviceable remake sticks fairly closely and smartly to the same plot, with the same scary objects and even the line, “They’re here.”
    • 49 Metascore
    • 63 Kyle Smith
    An intriguingly Hitchcockian premise gradually takes on a preposterous air in the art-world noir The Best Offer.
    • 45 Metascore
    • 63 Kyle Smith
    I kept hoping the meaning would click into place, but it never quite did.
    • 62 Metascore
    • 63 Kyle Smith
    Wilkinson's reflective and regretful searcher, burdened by secrets, is also touching, as are Dench and Nighy's creations, so it's easy to cheer them on as they inch toward revelations and rebirth.
    • 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.
    • 28 Metascore
    • 63 Kyle Smith
    The film’s mix of elements of “National Lampoon’s Christmas Vacation” and “Bad Santa” is amusing.
    • 64 Metascore
    • 63 Kyle Smith
    Cédric Klapisch’s film is meandering and cutesy, but his characters are endearing and every so often he comes up with a deft insight, such as how this city’s streets are like a flayed zombie.
    • 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.
    • 67 Metascore
    • 63 Kyle Smith
    It wouldn't be right to say that, half an hour after Kung Fu Panda 2 ended, I was starving for laughs again. In truth, I was starving pretty much all the way through.
    • 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.
    • 60 Metascore
    • 63 Kyle Smith
    Bad Moms is like “Sex and the City: The Sneakers-and-Minivan Years,” a good-natured girl-power comedy that balances a bland sitcom structure with some weird and hilarious moments.
    • 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."
    • 71 Metascore
    • 63 Kyle Smith
    Despite the underlying wretchedness, though, the characters exude a sense of having so little interior life that none of this, or anything else, fazes them. That’s disturbing, too.
    • 48 Metascore
    • 63 Kyle Smith
    Ted 2 has so many mo–ments of crazy brilliance that I laughed a lot, if infrequently. Is a ballplayer who whiffs four balls but knocks the fifth one 500 feet worth watching? I say yes.
    • 34 Metascore
    • 63 Kyle Smith
    You certainly get your 20 bucks worth of spectacle out of Alice Through the Looking Glass. So breathtaking are the landscapes, so whimsical are the creatures, so marvelous are the marvels that I wanted to give a standing ovation to whoever signed the check to pay for all this. Expensiver and expensiver!
    • 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.
    • 83 Metascore
    • 63 Kyle Smith
    A fulsomely, aggressively modest no-star picture, it’s a plotless, pointless two-hour hangout.
    • 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?
    • 76 Metascore
    • 63 Kyle Smith
    Looking at the Mexican drug wars from both sides of the border, Cartel Land is punchy and vital but not particularly informative.
    • 57 Metascore
    • 63 Kyle Smith
    It's good-natured myth-making cut into kid-size pieces.
    • 41 Metascore
    • 63 Kyle Smith
    A movie that won’t knock you out with originality but may charm you with its wit.
    • 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.

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