For 1,298 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 11.6 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 49 Up
Lowest review score: 0 Mirror Mirror
Score distribution:
1,298 movie reviews
    • 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.
    • 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."
    • 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
    Salt contains many conflicts: intelligence vs. counterintelligence, blond Angelina vs raven-haired and . . . well, that's about it.
    • 64 Metascore
    • 50 Kyle Smith
    Starts out as a hilarious take on cop-movie cliches, then turns into Will Ferrell's own "Capitalism: A Love Story."
    • 69 Metascore
    • 50 Kyle Smith
    A big warm cinematic jelly doughnut stuffed with youth, vitality, style, whimsy and other equally alarming properties. I tried to love it. But after 20 minutes, I sensed I was intruding on the movie's love affair with itself.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Kyle Smith
    When an 80-year-old director turns his attention to death, you hope for some insight, or gravitas, or even whimsy or anger. Hereafter has none of that.
    • 79 Metascore
    • 50 Kyle Smith
    Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."
    • 69 Metascore
    • 50 Kyle Smith
    Fair Game stars three imposing performers -- Naomi Watts, Sean Penn and Sean Penn's lavish and intemperate hair, a fuming gusher of crazy-ass Sweeney Todd locks that dominates every scene. I couldn't tear my eyes from it, maybe because I couldn't maintain focus on anything else in this histrionic and shamelessly misleading wonk-work.
    • 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.
    • 45 Metascore
    • 50 Kyle Smith
    Patsy Cline. Loretta Lynn. Gwyneth Paltrow. If you buy that progression, you'll buy Country Strong, an unintentionally campy drama.
    • 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.
    • 50 Metascore
    • 50 Kyle Smith
    If you're in the mood for a clichéd gangland B-movie, though, you could do worse.
    • 59 Metascore
    • 50 Kyle Smith
    Limitless may please a few looking for a shallow fantasy thriller, but won't fire up the synapses of the intellectually demanding.
    • 40 Metascore
    • 50 Kyle Smith
    An essential document of bad taste that needs to go right into the time capsule. History must not forget.
    • 51 Metascore
    • 50 Kyle Smith
    Seventh-graders are far cooler and more anarchic than depicted in this often-dopey movie, which is aimed at more of a fourth-grade sensibility.
    • 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.
    • 65 Metascore
    • 50 Kyle Smith
    Hanna doesn't go wrong immediately. It takes at least 2½ minutes.
    • 49 Metascore
    • 50 Kyle Smith
    Though the movie has some engagingly quirky moments, everything falls into place far too easily for much suspense to build, and the romance between the two leads seems as contrived as everything else.
    • 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.
    • 82 Metascore
    • 50 Kyle Smith
    A kind name for this attitude is false moral equivalence, or perhaps post-imperial cringe. A less kind one is Western self-hatred, or an urgent plea to tolerate the intolerant.
    • 56 Metascore
    • 50 Kyle Smith
    It's the snobs against the slobs at a Martha's Vine yard wedding in Jumping the Broom. Mostly, it's a tie: Both sides are equally irritating.
    • 50 Metascore
    • 50 Kyle Smith
    Suspenseful though it is, the movie is quiet to the point of being sleepy, and Worthington is simply not working out as a screen star.
    • 45 Metascore
    • 50 Kyle Smith
    I suppose you have to give credit to the movie for coming up with some badass killer mermaids.
    • 64 Metascore
    • 50 Kyle Smith
    Lenny this is not. Still, it's nice to know that the son of a lawyer and a microbiologist can get into Harvard and make something of himself.
    • 57 Metascore
    • 50 Kyle Smith
    Idiocy can be funny, but let's not forget that for all of this movie's aspirations to be out-there, it relies on the staple of the sitcom mentality.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Kyle Smith
    Tenderness and good intentions don't necessarily add up to a movie.
    • 57 Metascore
    • 50 Kyle Smith
    Graham Greene's guilt-and-gangsters tale "Brighton Rock" gets an even more melodramatic telling than in the 1947 film version courtesy of first-time director Rowan Joffe, whose histrionic adaptation screams "student film" with practically every frame.
    • 46 Metascore
    • 50 Kyle Smith
    All of the actors are enjoying themselves, and the movie is stuffed with history, atmosphere and vivid characters. What's in short supply, though, is laughter.
    • 45 Metascore
    • 50 Kyle Smith
    The main reason to see it is for the hilariously nasty uses it devises for a bear trap, nail gun, etc.
    • 57 Metascore
    • 50 Kyle Smith
    The film achieves near-poignancy in its final act, when we finally meet one of the two elderly tipplers, plus a friend who occasionally stayed at their apartment and endured their shouting matches.
    • 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.
    • 60 Metascore
    • 50 Kyle Smith
    Making a true story of social injustice into a gripping narrative requires more imagination than is contained in this well-intentioned but uninspired effort.
    • 49 Metascore
    • 50 Kyle Smith
    Everything plays out exactly as you'd expect in a cheerful, well-meaning movie in the style of something made for the Disney channel.
    • 56 Metascore
    • 50 Kyle Smith
    The legend of Thompson is immortal, though, and it'll fall to each generation to jam him into its own mold. Depp and Robinson's view is that Thompson was like a mullet: a party in the back but all business upfront.
    • 46 Metascore
    • 50 Kyle Smith
    If it's violence ye seek, and violently confused storytelling, look ye no further.
    • 83 Metascore
    • 50 Kyle Smith
    Young Hugo (Asa Butterfield), a boy who literally lives inside the clocks he manages in a grand Paris train station in the 1930s, embodies one problem that bedeviled even Dickens: He's boringly nice.
    • 70 Metascore
    • 50 Kyle Smith
    As the movie drags on, though, it takes on a throbbing, sick monotone. This isn't a concert, it's a bass guitar solo, all thumping blackness.
    • 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.
    • 58 Metascore
    • 50 Kyle Smith
    For a sex movie, Norwegian Wood is about as dry as a pocketful of sand. Even for a film set in a land that considers paper folding an exciting activity, this is dull stuff.
    • 67 Metascore
    • 50 Kyle Smith
    Haywire is a wannabe, or rather a wanna-B, and that B is for "Bourne." As each imitator comes and (rapidly) goes, my appreciation for the best superspy franchise deepens. Even top directors - in this case Steven Soderbergh - can't figure out the trick.
    • 52 Metascore
    • 50 Kyle Smith
    Safe House may strike you as a brilliant movie, provided you've seen fewer than, say, 10 spy thrillers.
    • 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.
    • 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.
    • 87 Metascore
    • 50 Kyle Smith
    In The Kid With a Bike, Belgian filmmakers Jean-Pierre and Luc Dardenne offer a sly but finally banal update of the Italian neorealist classic "The Bicycle Thief."
    • 47 Metascore
    • 50 Kyle Smith
    Amusing and informative (and hyperbolic) as it is, All In: The Poker Movie is a documentary whose intended audience is unclear.
    • 37 Metascore
    • 50 Kyle Smith
    Wrath of the Titans suggests a franchise that isn't trying very hard, and I don't really expect a sequel. But if it does happen, I fear it'll be even less of an event: "Tiff of the Titans."
    • 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.
    • 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.
    • 36 Metascore
    • 50 Kyle Smith
    Acquires a little vigor and some fun from Tracy Morgan as a friendly drug dealer who lives with his mom.
    • 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.
    • 52 Metascore
    • 50 Kyle Smith
    Prieto does what he can to keep things roaring along, but the overall effect is not a lot more stimulating than your average diet cola.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Kyle Smith
    I might forgive the slow start if it weren't for the slow middle and slow end.
    • 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.
    • 59 Metascore
    • 50 Kyle Smith
    The leads are likeable enough, but the script reanimates "Buffy the Vampire Slayer" tactics - a monster story supposedly made hilarious by being told by a savvy high schooler. These lines aren't even jokes, though, they're just collisions of the brutal and the banal.
    • 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.”
    • 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.
    • 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.
    • 49 Metascore
    • 50 Kyle Smith
    You do have to give Starbuck credit for engineering perhaps the largest group hug ever put on film.
    • 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.
    • 74 Metascore
    • 50 Kyle Smith
    This is a fine idea for a PSA TV commercial, but (a) they already did it back in the ’70s and (b) it goes on well past the 30-second mark.
    • 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.
    • 63 Metascore
    • 50 Kyle Smith
    So once you figure out the first rule of Zombie Fight Club — nothing too bad can happen to Brad Pitt — the movie is, despite intermittent thrills, rote.
    • 47 Metascore
    • 50 Kyle Smith
    The movie, told from the killer’s point of view, is genuinely unsettling and propelled by a terrific, buzzing synth soundtrack straight out of the early ’80s. But the only suspense is in which woman will be the next victim.
    • 56 Metascore
    • 50 Kyle Smith
    Its priceless clips from the disco era aside, The Secret Disco Revolution laughably fails to turn Barry White and Donna Summer into the Che Guevara and Emma Goldman of the dance floor.
    • 32 Metascore
    • 50 Kyle Smith
    This one is essentially “The Firm” with smartphones.
    • 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.
    • 41 Metascore
    • 50 Kyle Smith
    Entertainingly gruesome in parts, and not without a certain anarchic wit, it’s the kind of movie you pause to watch when it’s on TV, but after half an hour, you’ll click over to something else.
    • 51 Metascore
    • 50 Kyle Smith
    If Broadway shows had DVD featurettes, the unexceptional documentary Broadway Idiot would be perfect for one.
    • 35 Metascore
    • 50 Kyle Smith
    Cody’s satiric knocks on Christians couldn’t be more blundering and obvious. Yet her dialogue is often funny, and the unusual three-way friendship is refreshing. Even former star Brand has learned to dial back his manic mugging, though maybe not quite enough.
    • 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.
    • 59 Metascore
    • 50 Kyle Smith
    A likable cast and interior-­décor porn worthy of Martha Stewart Living are the highlights of The Best Man Holiday, but the mix of raunchy sex comedy and Christian faith doesn’t quite come off.
    • 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.
    • 90 Metascore
    • 50 Kyle Smith
    American Hustle is a movie that was built backward, or inside out: It puts actors’ needs before the audience’s. There’s no heart under those polyester lapels, and what all that Aqua Net is pasting together is a few sparse strands of wispy story.
    • 61 Metascore
    • 50 Kyle Smith
    Anchorman 2 is like watching “Anchorman” being re-enacted by semi-professionals trying to cover up their lapses by being extra-emphatic, super-doofy: 2013 Steve Carell does a lousy impression of 2004 Steve Carell.
    • 60 Metascore
    • 50 Kyle Smith
    There hasn’t been this bizarre mixture of hooah and death since John Wayne hung up his combat boots.
    • 53 Metascore
    • 50 Kyle Smith
    Beyond Outrage fails to live up to its title as Japanese superstar Takeshi Kitano can’t find much in the way of fresh ideas for the genre.
    • 83 Metascore
    • 50 Kyle Smith
    As cute and energetic as it is, The Lego Movie is more exhausting than fun, too unsure of itself to stick with any story thread for too long. The action scenes are enthusiastic, colorful but uninvolving, like an 8-year-old emptying a bucket of plastic blocks.
    • 37 Metascore
    • 50 Kyle Smith
    Son of God is guilty of all the sins of the 1950s Bible epics, but without any of the majesty.
    • 88 Metascore
    • 50 Kyle Smith
    “GBH” is a featherweight screwball comedy that, trying mightily to be cosmopolitan, feels awfully provincial, desperately touristy.
    • 79 Metascore
    • 50 Kyle Smith
    The doc consists of interviews with the absurdly grandiose Jodorowsky (whose fans include Kanye West) plus acolytes like current director Nicolas Winding Refn and film nerds, all of whom walk us through storyboards and tell us how awesome this “greatest film never made” would have been.
    • 68 Metascore
    • 50 Kyle Smith
    Although Hill failed to derail Thomas’ career, she seems to consider her testimony a success: She remains a highly sought public speaker about workplace sexual harassment, which in large part thanks to her is much less tolerated than it once was.
    • 51 Metascore
    • 50 Kyle Smith
    It’s too busy with feel-good slogans like “Si Se Puede.” The slogan may be nice, but it’s meaningless. So is the movie.
    • 66 Metascore
    • 50 Kyle Smith
    Steve Coogan’s Alan Partridge character — a craven, narcissistic, provincial TV and radio host who has been amusing the Brits for more than 20 years — proves too much of a sketch-comedy creation to sustain a film.
    • 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.
    • 58 Metascore
    • 50 Kyle Smith
    With Fading Gigolo, writer-director-star John Turturro does a passable imitation of a mediocre Woody Allen sex comedy, and guess who tags along for this would-be romp?
    • 44 Metascore
    • 50 Kyle Smith
    The horror flick 13 Sins is passable enough when it comes to dialing up the suspense, but the “Saw” formula of a mysterious voice guiding our hero through a series of depravities has gone a bit stale.
    • 53 Metascore
    • 50 Kyle Smith
    The Amazing Spider-Man is more like an old Xerox copy: Greasy, paper-thin, slightly faded, and probably made unnecessarily, but in any case destined to get lost in a pile of things exactly like it.
    • 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.”
    • 39 Metascore
    • 50 Kyle Smith
    Stage Fright starts out as a funny musical mashup — “Glee” meets“Friday the 13th” — but winds up indulging slasher-flick clichés instead of spoofing them.
    • 68 Metascore
    • 50 Kyle Smith
    A central problem: Efron isn’t funny.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 66 Metascore
    • 50 Kyle Smith
    Like many movies that premiere at the Sundance Film Festival, The One I Love has plenty of story — for a 30-minute TV episode, in this case of “The Twilight Zone.”
    • 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.
    • 58 Metascore
    • 50 Kyle Smith
    Even for a movie about complying with USDA regulations, Dolphin Tale 2 is a little lacking in excitement.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Kyle Smith
    But for all its 21st-century special effects, the characters, dialogue and values of Fury are straight out of the ’50s. The 1650s, maybe.
    • 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.
    • 53 Metascore
    • 50 Kyle Smith
    Rendering the life of young Abraham Lincoln as a tone poem, The Better Angels sags under the weight of its own resolute earnestness.
    • 74 Metascore
    • 50 Kyle Smith
    Big Hero 6 even has a title that sounds like a product ordered off the takeout menu of the type of restaurant that recombines a few elements in many ways. That could work fine, if any of the ingredients were particularly flavorful.
    • 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.
    • 73 Metascore
    • 50 Kyle Smith
    The teary-eyed sincerity of the music-industry drama Beyond the Lights is at times too much, but despite its cliche elements, the film at least has the feel of a passion project.
    • 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.
    • 17 Metascore
    • 50 Kyle Smith
    An intriguing sci-fi thriller, but in the end it doesn’t do enough with its ideas.
    • 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.
    • 73 Metascore
    • 50 Kyle Smith
    It’s mainly instructive in that it shows how liberals believe the end always justifies the means.
    • 30 Metascore
    • 50 Kyle Smith
    Seventh Son is not a good movie, but it’s also not a pretentious one, and I call that a fair trade.
    • 75 Metascore
    • 50 Kyle Smith
    Most of the best gags are in the early going and the film seems ever more stretched and thin as it goes on. It would have made a brilliant eight-minute sketch, though.
    • 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.
    • 66 Metascore
    • 50 Kyle Smith
    Whedon keeps approaching ideas, but every time he does so he leaves a flaming bag of dog poop on the doorstep, rings the bell and runs away tittering.
    • 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.
    • 73 Metascore
    • 50 Kyle Smith
    The movie can be mildly amusing. But I couldn’t figure out which of the three principals I least wanted to know.
    • 38 Metascore
    • 50 Kyle Smith
    The Entourage formula feels warmed-over, played-out, spent.
    • 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.
    • 48 Metascore
    • 50 Kyle Smith
    Beginning as an adorable romcom, Hungry Hearts morphs into a disturbing but not particularly illuminating story of mental illness.
    • 72 Metascore
    • 50 Kyle Smith
    As a comedy, the film isn’t especially funny, and as a screwball drug caper a la “Go,” it’s raggedly plotted, with ridiculous coincidences popping up everywhere.
    • 56 Metascore
    • 50 Kyle Smith
    Hutcherson isn’t particularly adept at playing moral anguish, but the film maintains an electrifying tension for its first half as we wonder just how far his character will go. In the second half, though, the film degenerates into a desultory action movie as everybody starts creeping around trying to shoot one another.
    • 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.
    • 47 Metascore
    • 38 Kyle Smith
    The computer-generated flying effects are the only reason to see the movie, but at some point somebody left the computer on too long, so it went ahead and spat out the script.
    • 53 Metascore
    • 38 Kyle Smith
    The men who made The Guardian strive to be the averagest of the average - and don't quite succeed.
    • 29 Metascore
    • 38 Kyle Smith
    Misses everything that made the first one eat into your spine like meningitis.
    • 50 Metascore
    • 38 Kyle Smith
    Problem: Kidman is the only one in the theater who is turned on. The rest of us are giggling.
    • 21 Metascore
    • 38 Kyle Smith
    Ryan Reynolds isn't around this time - and neither is most of the wit.
    • 36 Metascore
    • 38 Kyle Smith
    Turistas has mastered the international language: stupidity.
    • 64 Metascore
    • 38 Kyle Smith
    DiCaprio and Connelly give off the sexual tension of pickled herring.
    • 38 Metascore
    • 38 Kyle Smith
    When the studio tells us that parental guidance is suggested, does it occur to them that they should have taken their own advice?
    • 65 Metascore
    • 38 Kyle Smith
    What happens when several characters' lives intertwine with the maggot-infested corpse of a prostitute in The Dead Girl? A whole lot of crying.
    • 33 Metascore
    • 38 Kyle Smith
    Isn't as bad as you'd think, but this comic mash-up of "The Bourne Identity" and "Fat Albert" doesn't have much heft.
    • 35 Metascore
    • 38 Kyle Smith
    One of the few monster-crocodile movies that simultaneously tries to rip off "Jaws" and "Meet the Press."
    • 32 Metascore
    • 38 Kyle Smith
    The mutants are brain-damaged; the filmmakers don't have that excuse to justify this movie, which is the kind of thing the sergeant would call "a stunning display of individual and group stupidity."
    • 41 Metascore
    • 38 Kyle Smith
    The movie pretty much exists to sell tie-in products, and it's about as entertaining as watching little kids playing with their toys in the sandbox.
    • 64 Metascore
    • 38 Kyle Smith
    You know those one-joke "Saturday Night Live" sketches that start to age after six minutes? Blades of Glory is one joke that lasts 93 minutes, costs $11 and could involve sitting next to a guy who retells the movie into his cellphone.
    • 43 Metascore
    • 38 Kyle Smith
    There's too little dog and too much fire house in Firehouse Dog, a mild kid comedy that turns into a flaming arson mystery with some scenes that could be too scary for little ones.
    • 65 Metascore
    • 38 Kyle Smith
    Satire is merciless; it demands that mocker be superior to mockee.
    • 57 Metascore
    • 38 Kyle Smith
    Some ideas are auto-stolen (from Coupland's last novel, "JPod"), but those quirky atmospherics aren't enough to sustain a largely plotless film.
    • 34 Metascore
    • 38 Kyle Smith
    An amusingly preposterous last act keeps you guessing, or maybe keeps you ducking, as it lets rip an avalanche of startling revelations and double-crosses. Nothing is what it seems - unless it seems cheesy.
    • 36 Metascore
    • 38 Kyle Smith
    A 12th-grade "Sixth Sense" with a third-rate plot.
    • 52 Metascore
    • 38 Kyle Smith
    Considering that Gracie says nothing that hasn't been said in dozens of films, one does wonder whether Hollywood is being as diligent as it could be in digging up fresh story ideas.
    • 46 Metascore
    • 38 Kyle Smith
    A suspenseless rehash.
    • 37 Metascore
    • 38 Kyle Smith
    The bite and bark of Underdog are both pretty awful, but little kids might take this pooch for a walk.
    • 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.
    • 63 Metascore
    • 38 Kyle Smith
    A caper comedy that forgot to put in the laughs.
    • 46 Metascore
    • 38 Kyle Smith
    So laugh-poor that it shoves all its comedy chips on a bet that you can build a movie around nose gags.
    • 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.
    • 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.
    • 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
    A dreary message movie.
    • 47 Metascore
    • 38 Kyle Smith
    I went to a wartime thriller, but then a Poli Sci 101 seminar broke out.
    • 51 Metascore
    • 38 Kyle Smith
    Five minutes before The Golden Compass started, I was wondering when it was going to start. Forty minutes into it, I was wondering exactly the same thing.
    • 44 Metascore
    • 38 Kyle Smith
    It's a cute idea that a better filmmaker than writer-director Michael Schroeder could have done a lot with.
    • 48 Metascore
    • 38 Kyle Smith
    It's another flick about maps, landmarks and buried treasure that makes "The Da Vinci Code" look like TOLSTOY.
    • 49 Metascore
    • 38 Kyle Smith
    An occasionally revealing glimpse inside the mind of Chapman before, during and after the assassination.
    • 41 Metascore
    • 38 Kyle Smith
    A lukewarm film about what might happen to three New York City friends if the draft were reinstated, proves that even the most controversial of topics can be the basis for the dullest indie films.
    • 41 Metascore
    • 38 Kyle Smith
    A heist comedy in which the audience gets robbed.
    • 46 Metascore
    • 38 Kyle Smith
    Needlessly violent? No, Rambo is needfully violent. Johnny R. is a man constructed of violence.
    • 37 Metascore
    • 38 Kyle Smith
    Situations get increasingly ridiculous, and none of the characters ever seems like anything but a screenwriter's sketch.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 38 Kyle Smith
    Better than most Martin Lawrence movies - much as strep throat is better than malaria.
    • 44 Metascore
    • 38 Kyle Smith
    The movie doesn't do anything with these viney bastards. There's no back story, no satire, no allegory, no implications beyond what's happening on the pyramid.
    • 43 Metascore
    • 38 Kyle Smith
    A serial-killer flick told like an art lecture, Anamorph manages to be gruesome yet dull.
    • 36 Metascore
    • 38 Kyle Smith
    We keep waiting for a story, or at least some comedy, but none ever materializes. The dialogue makes Algebra II seem fascinating by comparison.
    • 55 Metascore
    • 38 Kyle Smith
    The film is narrated by Russell Crowe, whose star power is probably the only reason it's being released here.
    • 55 Metascore
    • 38 Kyle Smith
    Turn the River lacks almost everything Eigeman has as a performer: charisma, wit and snappy delivery.
    • 51 Metascore
    • 38 Kyle Smith
    For all its outré set pieces it never rises above the level of pretentious trash.
    • 34 Metascore
    • 38 Kyle Smith
    A movie that features Wahlberg suggesting everyone try to outrun the wind can barely be watched once.
    • 48 Metascore
    • 38 Kyle Smith
    The ingredients are there for a cute con game, but instead the movie turns out to be a mushy melodrama.
    • 22 Metascore
    • 38 Kyle Smith
    A woefully earnest indie about a crime and its aftermath.
    • 30 Metascore
    • 38 Kyle Smith
    With its starkly contrasted visuals (fierce blacks, Clorox whites, a dash of unholy crimson), The Spirit may resemble a comic book more than any live-action film yet made, but it makes "Max Payne" look like a gleaming jewel of storytelling by comparison.
    • 45 Metascore
    • 38 Kyle Smith
    Edward Norton plays Ray, a (possibly) honest cop wearing an unexplained scar positioned just so on his cheek. It looks like it was bought in the markdown aisle of Halloween Mart on Nov. 1.
    • 46 Metascore
    • 38 Kyle Smith
    Boring movie.
    • 62 Metascore
    • 38 Kyle Smith
    Everything is predictable three scenes in advance, and it's all stale, stuck, stolid.
    • 47 Metascore
    • 38 Kyle Smith
    CHOKE tries to be dirty but manages merely to be dingy.
    • 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.
    • 57 Metascore
    • 38 Kyle Smith
    There is also something surgically sterile. The movie sounds as though it was recorded in a padded chamber instead of a bustling school, and it looks like it came from some alternate world, one that basks in the eternal sunshine of the spotless skin.
    • 41 Metascore
    • 38 Kyle Smith
    The film is Beverly Hills Chihuahua. The audience is the fire hydrant.
    • 64 Metascore
    • 38 Kyle Smith
    Combines a sketch-comedy premise with pacing like a philosophy seminar.
    • 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.
    • 58 Metascore
    • 38 Kyle Smith
    Goldblum's wobbly German accent and the staginess of the script doom this effort by Paul Schrader ("American Gigolo").
    • 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?
    • 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.
    • 64 Metascore
    • 38 Kyle Smith
    Nothing But the Truth is like listening to the fourth-best debater in middle school present a term paper called "Politics, Power and the Media."
    • 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."
    • 43 Metascore
    • 38 Kyle Smith
    As bland as the Kenny G-style smooth jazz its hero listens to in moments of distress.
    • 36 Metascore
    • 38 Kyle Smith
    The movie hopes to be regarded as childlike too, but there's a difference between kid-friendly and just regular old dumb.
    • 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.
    • 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.
    • 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.
    • 33 Metascore
    • 38 Kyle Smith
    Not very haunty.
    • 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.
    • 76 Metascore
    • 38 Kyle Smith
    Every Little Step shows only this: It hurts to flunk an audition, and it's nice to get hired. Everything it has to say about Broadway was said better in Bob Fosse's movie "All That Jazz" -- in its opening five minutes.
    • 55 Metascore
    • 38 Kyle Smith
    The potential for suspense is dropped (there's a subplot about the receptionist's flight from her violent husband, but he appears in only a couple of scenes) in favor of lots of hushed interludes in which nothing happens.
    • 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.
    • 50 Metascore
    • 38 Kyle Smith
    The film is a failure if it can't convince us that these two people belong together. It can't, and barely tries.
    • 34 Metascore
    • 38 Kyle Smith
    Its script isn't worth the papyrus it's inscribed on.
    • 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.
    • 19 Metascore
    • 38 Kyle Smith
    An icky S&M thriller.
    • 80 Metascore
    • 38 Kyle Smith
    The movie offers very little that food radicals don't already know.
    • 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.
    • 57 Metascore
    • 38 Kyle Smith
    Sherlock Holmes dumbs down a century-old synonym for intelligence with S&M gags, witless sarcasm, murky bombast and twirling action-hero moves that belong in a ninja flick.
    • 65 Metascore
    • 38 Kyle Smith
    The movie is neither an affecting romance (Coco even considers marrying Balsan because "I'd achieve social status") nor an inspiring success story. Chanel sold herself to one guy, happened to get customers through him, and took a start-up loan from another lover.
    • 44 Metascore
    • 38 Kyle Smith
    New Moon is supposed to be an exciting love story plus monster action. So where’s the excitement? Where’s the action?
    • 24 Metascore
    • 38 Kyle Smith
    You wouldn't call The Boondock Saints II: All Saints Day a taut thriller. More like a fleshy, messy, jangled frenzy of shootouts and much discussion about the mechanics of romantic entanglements that bloom between prison inmates.
    • 48 Metascore
    • 38 Kyle Smith
    Matthew Broderick graduates from "boyish" and lurches straight into "curmudgeonly" in the would-be indie heartwarmer Wonderful World.
    • 61 Metascore
    • 38 Kyle Smith
    A popcorn picture that thinks it’s “The Last Emperor,” The Karate Kid is about as likely to grab your youngster’s attention as any other propaganda film made by the Chinese government.
    • 55 Metascore
    • 38 Kyle Smith
    Even for a horror movie, The Crazies is a bore, and we're talking about the most boring genre this side of dysfunctional-family indie drama.
    • 71 Metascore
    • 38 Kyle Smith
    It'll be a real miracle if anyone manages to stay awake throughout this extravagantly dull film.
    • 57 Metascore
    • 38 Kyle Smith
    Much of this footage might have been illuminating, even fascinating, in 2003. But seven years on, it's ancient history lacking insight, hindsight or a fresh take.
    • 63 Metascore
    • 38 Kyle Smith
    Even I realize that other people's babies are boring. So is Babies.
    • 47 Metascore
    • 38 Kyle Smith
    A comedy that forgot to install the funny.
    • 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.
    • 56 Metascore
    • 38 Kyle Smith
    As portrayed by Anna Mouglalis and Mads Mikkelsen, Coco Chanel & Igor Stravinsky weren't exactly Rhett & Scarlett.
    • 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.
    • 22 Metascore
    • 38 Kyle Smith
    It feels as shopworn as a dusty VHS tape of "Less Than Zero."
    • 53 Metascore
    • 38 Kyle Smith
    The movie is still a mess, stumbling from comic-relief scenes that aren't funny to a job-training interlude in which we learn that, among other things, owls make excellent . . . blacksmiths?
    • 58 Metascore
    • 38 Kyle Smith
    A movie steeped in sin that squats awkwardly in a cinematic purgatory between tawdry and talky.
    • 67 Metascore
    • 38 Kyle Smith
    A sour, plotless and witless comedy-drama based on the final Mordecai Richler novel, wants to remind you of "Sideways" and its forlorn drink-moistened soul search. Giamatti is an ideal casting choice, but even this talented actor can't sell a lovable-jerk
    • 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.
    • 55 Metascore
    • 38 Kyle Smith
    Porno plus Parkinson's don't quite add up to sexy fun.
    • 51 Metascore
    • 38 Kyle Smith
    not so much a movie as an "act," one that belongs at a club called Shenanigans or maybe Chuckleheads.
    • 76 Metascore
    • 38 Kyle Smith
    It contains no poetry. It simply conjures up a horrible feeling -- and then sits back awaiting congratulation.
    • 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.
    • 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
    It sounds like it was written by the star pupils at the Cameron Academy of Screenwriting.
    • 55 Metascore
    • 38 Kyle Smith
    A long slog through ancient muck, so-so sword fights and dumb luck.
    • 63 Metascore
    • 38 Kyle Smith
    This "Alfie" meets "Boogie Nights" bio fizzles because, although Sassoon never stops talking, he never says anything.
    • 47 Metascore
    • 38 Kyle Smith
    Plotwise, the movie can (like many a Brooklynite) barely be bothered to comb its hair. Just when the pace needs to pick up, everyone sits around discussing fruity drinks.
    • 41 Metascore
    • 38 Kyle Smith
    Hop
    Hop gives us . . . a bunny who poops jelly beans. That idea doesn't fill you with seasonal joy? Neither will the rest of the movie.
    • 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."
    • 38 Metascore
    • 38 Kyle Smith
    At best a sporadically amusing sketchbook of theater types.
    • 48 Metascore
    • 38 Kyle Smith
    Seldom does The Bang Bang Club show much interest in the big picture of South Africa. When moral issues do come to the forefront, the big worry seems to be not questionable behavior but bad publicity.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 38 Kyle Smith
    Only rarely does the film present a genuine insight, such as the observation that many black people loved to dress up in their finest for church because, during the week, they were so often dressed as servants and manual laborers.
    • 62 Metascore
    • 38 Kyle Smith
    Appalachian mountains get blown up to extract coal in the documentary The Last Mountain, a film in which activists are at least as hot as the TNT.
    • 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.
    • 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.
    • 59 Metascore
    • 38 Kyle Smith
    Sarah's Key belongs to the Holocaust for Dummies section of Harvey Weinstein's History for Dummies series of mer etricious glossy dramas that ransack global events and turn them into middlebrow women's weepies to fill his trophy case.
    • 48 Metascore
    • 38 Kyle Smith
    Fine for fans? Sure. This stuff is crack for fans. Crack is really bad!
    • 64 Metascore
    • 38 Kyle Smith
    Feeble comic one-liners and slow pacing combine for a routine fangfest in this remake of the 1985 film.
    • 71 Metascore
    • 38 Kyle Smith
    A cheap exploitation picture wrapped in miles and miles of stale would-be Oscar scenes.
    • 43 Metascore
    • 38 Kyle Smith
    In Machine Gun Preacher, Gerard Butler says, "I've done a lot of things I'm not proud of that hurt a lot of people." But enough about "The Bounty Hunter," "The Ugly Truth" and "P.S. I Love You."
    • 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?
    • 59 Metascore
    • 38 Kyle Smith
    The shtick movie Paranormal Activity 3 is the horror equivalent of vaudeville comedy: a little patter, a little pie in the face, repeat.
    • 53 Metascore
    • 38 Kyle Smith
    This future looks awfully passé: The stimulus didn't work out. Neither did 1917 Russia.
    • 50 Metascore
    • 38 Kyle Smith
    "Happy Feet" was one of the greatest and most original animated films, but the sequel can't even decide what it's about for the first 40 minutes.
    • 65 Metascore
    • 38 Kyle Smith
    True, the stars are very good at what they do, but so what?
    • 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.
    • 71 Metascore
    • 38 Kyle Smith
    The Girl With the Dragon Tattoo is, as you'd expect, rubbish, but the word is slightly too kind. The David Fincher film (like the very similar Swedish one - released in the US just last year! - and the book) is not even good rubbish.
    • 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.
    • 69 Metascore
    • 38 Kyle Smith
    With great power comes the responsibility to make a decent movie, but the mysterious force running through Chronicle is the power to supersuck.
    • 49 Metascore
    • 38 Kyle Smith
    Demonstrating the limits of being too clever in a genre movie, the art-house chiller Silent House lets the tenseness of its first act trickle away.
    • 52 Metascore
    • 38 Kyle Smith
    [Director Kaye's] dedication to the material is admirable, but his tactic of following one dismal development with an even more depressing one comes to seem monotonous and pointless.
    • 48 Metascore
    • 38 Kyle Smith
    The script suffers from blandness and aimlessness.
    • 72 Metascore
    • 38 Kyle Smith
    I've seen a lot of rip-offs of "The Truman Show" and a lot of rip-offs of "Scream." I guess I have to give credit to The Cabin in the Woods for ripping off both at once.
    • 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.
    • 56 Metascore
    • 38 Kyle Smith
    Sheen's throwback portrayal is appealing enough, but flat characters, dull revelations and uninvolving complications make this deliberately small film feel nearly microscopic.
    • 49 Metascore
    • 38 Kyle Smith
    The considerable talents of Banks make the movie bearable.
    • 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.
    • 52 Metascore
    • 38 Kyle Smith
    Spits out enough scares and twists to maintain our interest, but the film's psycho-sociological layer is almost as cheesy and unconvincing as its low-rent action scenes.
    • 55 Metascore
    • 38 Kyle Smith
    Liberal Arts comes to us produced by Josh Radnor. Written by Josh Radnor. Starring Josh Radnor. Josh Radnor is much like Woody Allen, except for the talent.
    • 53 Metascore
    • 38 Kyle Smith
    The film as a whole goes from intriguing to irritating.
    • 31 Metascore
    • 38 Kyle Smith
    The dull, predictable direction is the perfect match for a watery, nondescript cast.
    • 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.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 38 Kyle Smith
    No
    No, which has been nominated for this year’s Best Foreign Language Film Oscar, is largely a gimmick picture: At all times, it looks like hastily assembled news footage shot on grainy videotape in 1988. That means light flaring up to spoil the image, bumpy camerawork, a nearly square picture and all-around grubbiness.
    • 65 Metascore
    • 38 Kyle Smith
    Fake documentaries annoy me — why not put in the effort and deliver the real thing? — and this one is not only aimless and stiff, it also rings false.
    • 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.”
    • 65 Metascore
    • 38 Kyle Smith
    A great writer deserves a more penetrating and inquisitive documentary: Reverence is not the path to understanding.
    • 49 Metascore
    • 38 Kyle Smith
    Argentina’s noir Everybody Has a Plan is as sludgy as the river delta in which it takes place.
    • 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.
    • 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.
    • 76 Metascore
    • 38 Kyle Smith
    Has the aroma of an autobiographical confession by someone for whom life hasn’t been overly difficult.
    • 52 Metascore
    • 38 Kyle Smith
    I had the sensation of sitting through a fourth-grade school play that contained no children of my own: the very definition of a nightmare.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Kyle Smith
    The shallow, derivative and contrived British heist thriller Wasteland lives down to its unfortunate name.
    • 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.
    • 82 Metascore
    • 38 Kyle Smith
    The teen movie The Spectacular Now begins like “Say Anything” but soon turns into “Drink Anything.”
    • 61 Metascore
    • 38 Kyle Smith
    For a 99 percenter movie, then, Elysium is kind of a head-scratcher. It throws away its best opportunity for drama. It’s as if Han and Leia parked on the Death Star and started asking, “How much is a two-bedroom around here?”

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