For 1,407 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 12.2 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Whiplash
Lowest review score: 0 A Novel Romance
Score distribution:
1407 movie reviews
    • 73 Metascore
    • 75 Kyle Smith
    Po speaks loudly and carries big shtick. Let the rest of the world cringe at our hyperconfidence, our charisma, our pure awesomeness.
    • 55 Metascore
    • 75 Kyle Smith
    Credit Westfeldt, who is also the writer and director, with a classic setup for farce, brightly executed.
    • 60 Metascore
    • 75 Kyle Smith
    This documentary, which begins at a low key, gradually becomes intense and psychologically complicated.
    • 65 Metascore
    • 75 Kyle Smith
    Director Susanne Bier's chilly morality play is slow to get started, but once established, its three parallel stories comment provocatively on one another.
    • 72 Metascore
    • 75 Kyle Smith
    Though Despicable Me is a little ragged on story, it's got a lot of imagination and a heart as warm as a fluffy kitty.
    • 58 Metascore
    • 75 Kyle Smith
    Dispenses with much of the caramel gooeyness of the first two episodes in favor of decent action, some heartfelt tender moments and even a splash of wit. This time they’re actually Twi-ing.
    • 66 Metascore
    • 75 Kyle Smith
    May serve as a useful way to introduce teens to what World War II in Europe was like.
    • 70 Metascore
    • 75 Kyle Smith
    This material cries out for big-budget treatment by a real master like Paul Thomas Anderson or Martin Scorsese.
    • 77 Metascore
    • 75 Kyle Smith
    As subtle and careful and slyly disturbing as Child’s Pose is though, it and many others of its genus suffer from an airlessness, pacing like the growth of algae, a dishwater color palate and a dirge-like monotone.
    • 42 Metascore
    • 75 Kyle Smith
    A warning: One scene in the middle is almost outrageously cruel and graphic. If you're the type of person who has to be reminded, "It's only a movie," stay away. This is the most depraved and dreadful piece of screen horror since last year's "Funny Games."
    • 82 Metascore
    • 75 Kyle Smith
    Once it calms down and stops trying to be funny, it turns into a thoughtful and intriguing drama.
    • 71 Metascore
    • 75 Kyle Smith
    The hopelessly dated 1968 play "The Boys in the Band" yields a surprisingly sprightly and multifaceted documentary, Making the Boys.
    • 81 Metascore
    • 75 Kyle Smith
    A captivating Tom Hardy is in the driver’s seat for the one-man show Locke, but like many experimental films, this one suffers from its self-imposed constraints.
    • 64 Metascore
    • 75 Kyle Smith
    Gentle, tender and very French, The Hedgehog is cinematic poetry -- too bad about that prosaic plotting.
    • 78 Metascore
    • 75 Kyle Smith
    At the end the film turns into an infomercial for President Obama’s Iran deal, but Gibney delivers plenty to think about — and fear.
    • 61 Metascore
    • 75 Kyle Smith
    Role Models isn't a classic like "Superbad" or as hilarious as this summer's "Step Brothers," but it's excellent fun for males in the mental age bracket of 14 to 22, which is most males.
    • 58 Metascore
    • 75 Kyle Smith
    Typically, To the Wonder seems mostly locked in the thoughts of its characters, whispered so only we can hear, with no more actual back-and-forth dialogue than would cover the back of your ticket stub.
    • 80 Metascore
    • 75 Kyle Smith
    A clever, elliptical, slightly bizarre and altogether transfixing psychological thriller.
    • 76 Metascore
    • 75 Kyle Smith
    A film I admired, but didn’t especially like, The Revenant is a master class in craftsmanship, marrying the ethos of 1970s Hollywood, with its beaten-dog heroes forever roughed up by a brutal system, to the technological prowess of today’s digitally obsessed blockbusters.
    • 65 Metascore
    • 75 Kyle Smith
    Director Matthew Vaughn, who did last year's delightful "Kick-Ass," doesn't do witty this time around, but he does keep up a spiffing pace while making the action blaze.
    • 64 Metascore
    • 75 Kyle Smith
    The film never flags. To find a smarter bug-man saga, you’d have to go back to “The Metamorphosis.” I was far from sold on insect superheroes, but now I say: Bring on Cockroach Chick.
    • 66 Metascore
    • 75 Kyle Smith
    October Country doesn't really have a point, or a story, but it's an almost unbearably vivid portrait of four generations in a single working-class family.
    • 69 Metascore
    • 75 Kyle Smith
    Beaded with amusing moments.
    • 55 Metascore
    • 75 Kyle Smith
    A sometimes insightful, sometimes absurdly devotional but steadily engaging film.
    • 72 Metascore
    • 75 Kyle Smith
    Earth, you had me at baby polar bears.
    • 67 Metascore
    • 75 Kyle Smith
    There is stuff in This Is the End that had me laughing so hard, I sensed new body parts joining in to help out — my pancreas was heaving, my bile ducts ripped.
    • 54 Metascore
    • 75 Kyle Smith
    Its young director, however, has a considerable flair for surprise and visual gusto, and he even, on a shoestring, delivers sharp-looking special effects.
    • 50 Metascore
    • 75 Kyle Smith
    A pleasingly weird, dryly funny little indie.
    • 59 Metascore
    • 75 Kyle Smith
    Picture Monty Python writing an unusually odd "Twilight Zone" episode directed by surrealist Luis Buñuel. Or just empty your mind of all sense: This is Rubber.
    • 38 Metascore
    • 75 Kyle Smith
    What keeps the movie nervy and kinetic is that, for a good hour, it never seems that Jack and family are anything but average people who somehow manage to survive one hellacious trial after another, even when it comes to having to kill another human being.

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