For 1,467 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 12.6 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 The Birth of a Nation
Lowest review score: 0 Abraham Lincoln: Vampire Hunter
Score distribution:
1467 movie reviews
    • 41 Metascore
    • 50 Kyle Smith
    Mojave is a movie-length standoff between two detestable villains. One is a serial killer. The other is a filmmaker.
    • 62 Metascore
    • 50 Kyle Smith
    If “Once” was a bracing blast of cool spring water, Begin Again is a can of Fanta. If “Once” was a piano, Begin Again is a keytar. If “Once” was Otis Redding, Begin Again is Bruno Mars.
    • 73 Metascore
    • 50 Kyle Smith
    This atmospheric, cool-looking but gimpy thriller based on a John le Carré novel makes “Tinker, Tailor, Soldier, Spy” look like “22 Jump Street.”
    • 40 Metascore
    • 50 Kyle Smith
    Refreshing as it is to see the military portrayed as something other than a band of neurotics and creeps, there's a reason this brand of rah-rah and bang-bang didn't outlast the age of Whitesnake and Marty McFly.
    • 51 Metascore
    • 50 Kyle Smith
    Everyone's Hero, a tame CGI cartoon for the simple-minded: the very young, the very old and Yankee fans.
    • 42 Metascore
    • 50 Kyle Smith
    The film is never gripping, but at least it moves. Director Ron Howard does his best to spark excitement with cheesy horror-movie editing — brief shots of the damnation in store if the virus is unleashed — and there are a couple of twists to keep things lively. Nothing is what it seems, unless it seems ridiculous, in which case it’s exactly what it seems.
    • 59 Metascore
    • 50 Kyle Smith
    Too slow to be a guilty pleasure and too dumb to be an innocent one.
    • 63 Metascore
    • 50 Kyle Smith
    An Irish indie that is well-observed and well-acted - but ultimately, not much more exciting than the love lives of its lead characters.
    • 65 Metascore
    • 50 Kyle Smith
    Salt contains many conflicts: intelligence vs. counterintelligence, blond Angelina vs raven-haired and . . . well, that's about it.
    • 73 Metascore
    • 50 Kyle Smith
    Combines the sweet strangeness of "Fargo" with the existential panic of "Memento" and some Elmore Leonard tough talk. It all creates a cinematic tummy ache.
    • 42 Metascore
    • 50 Kyle Smith
    But improbable situations, heavy reliance on coincidence and an improbable climax nearly tip the film into TV-movie territory.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Kyle Smith
    A movie that sets out to make boy bands look silly. The conceptual error is obvious. There’s low-hanging fruit and then there’s fruit that’s already on the ground, rotting underfoot.
    • 66 Metascore
    • 50 Kyle Smith
    A buffet of dumb and degrading stunts halfway between Looney Tunes and Abu Ghraib?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 42 Metascore
    • 50 Kyle Smith
    It may be a second-rate “Lord of the Rings,” but at least it doesn’t overstay its welcome.
    • 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.
    • 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.
    • 79 Metascore
    • 50 Kyle Smith
    Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."
    • 49 Metascore
    • 50 Kyle Smith
    You do have to give Starbuck credit for engineering perhaps the largest group hug ever put on film.
    • 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?
    • 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.
    • 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.

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