For 1,274 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 11.5 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 The Seven Five
Lowest review score: 0 All About Steve
Score distribution:
1,274 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.”

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