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 13.4 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 American Sniper
Lowest review score: 0 The Salon
Score distribution:
1473 movie reviews
    • 74 Metascore
    • 75 Kyle Smith
    German guilt gets a vigorous workout in the penetrating and symbolically important documentary Two or Three Things I Know About Him.
    • 73 Metascore
    • 63 Kyle Smith
    Although the payoff is creepy, it takes a little too long to arrive -- and when it does, it's about as worn-out as the movie's title.
    • 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.
    • 73 Metascore
    • 25 Kyle Smith
    This film is narratively inert (we spend a lot of time listening to the same questions being asked over and over) and, like virtually all docs in its genre, less than vigorous in its pursuit of truth.
    • 73 Metascore
    • 50 Kyle Smith
    It’s mainly instructive in that it shows how liberals believe the end always justifies the means.
    • 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.”
    • 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.
    • 73 Metascore
    • 63 Kyle Smith
    Turing’s tale needs to be more widely known, and while The Imitation Game may not be a great film, it is an important one.
    • 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.
    • 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.
    • 73 Metascore
    • 75 Kyle Smith
    Zombieland is still the funniest broad comedy since "The Hangover." Its yowling, marching, munching corpses are as scary as grad students and as hilarious as the plot of "G.I. Joe."
    • 73 Metascore
    • 75 Kyle Smith
    France's Declaration of War has it all: comedy, romance, fantasy, musical interludes and a child with a brain tumor. Wait - what?
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 75 Kyle Smith
    Raunchy frat comedies are as hard to pull off as any other kind because they have to keep surprising the audience, and The Hangover does with a bizarre series of uproarious situations with explanations that just about stay within the bounds of plausibility.
    • 73 Metascore
    • 50 Kyle Smith
    The Club offers plenty of stifling, agonized atmosphere, but it’s all penitence and no redemption.
    • 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?
    • 72 Metascore
    • 100 Kyle Smith
    The moral alertness of the film is of the level normally confined, in military pictures, to talky courtroom scenes, yet Eastwood skillfully works dilemmas into propulsive and suspenseful action.
    • 72 Metascore
    • 25 Kyle Smith
    An English-language film from Italy, Tale of Tales toys with the ogres, princesses and crones of classic fairy tales to almost no dramatic effect, albeit with lots of sex and gore. Imagine the Brothers Grimm’s cousins Tyler and Jake writing for a late-night slot on Cinemax and you’ll get the idea.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 75 Kyle Smith
    Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.
    • 72 Metascore
    • 75 Kyle Smith
    The doggedness and good will of these men are irresistible as they pick up on the American dream, finding work and even college educations while trying to locate their missing relatives back home.
    • 72 Metascore
    • 75 Kyle Smith
    Earth, you had me at baby polar bears.
    • 72 Metascore
    • 75 Kyle Smith
    Davies’ quiet, painterly film largely eschews musical cues that would heighten its emotional impact, but as it is, Sunset Song is captivating in its sincerity.
    • 72 Metascore
    • 63 Kyle Smith
    Reflective but only mildly engaging dramedy.
    • 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.
    • 72 Metascore
    • 63 Kyle Smith
    This one-sided documentary, told entirely by supporters, paints Swartz as a hero pursued by malign forces.

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