For 1,468 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 12.5 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 49 Up
Lowest review score: 0 Conversations with God
Score distribution:
1468 movie reviews
    • 51 Metascore
    • 75 Kyle Smith
    The film is as tender and endearing as a lamb, a lamb at rest in a fragrant atmosphere. It’s a film that has a determined, unironic respect for things past. It’s as if millennial hipsterism, with its feigned fascination for all things retro, took a surprising further step: actual respect for learning, for experience, for wisdom.
    • 71 Metascore
    • 75 Kyle Smith
    Lately, the Shakespeare plays on film tend to be either too self-consciously irreverent on the one hand or too stodgy on the other; Kurzel’s Macbeth takes a point of view without betraying the Bard.
    • 57 Metascore
    • 75 Kyle Smith
    I'm not, finally, sure what Leigh is saying - but she is a filmmaker with a voice.
    • 56 Metascore
    • 75 Kyle Smith
    Writer-director Jon S. Baird has devilish fun with the hilarious black-comic elements of Irvine Welsh’s novel, but the incessant bad behavior does get a wee bit monotonous, and the twist ending is disappointingly pat.
    • 75 Metascore
    • 75 Kyle Smith
    So why does the Democratic Party hate him so much? The answer, as this valuable (if blatantly pro-Nader) documentary makes clear, is hypocrisy.
    • 71 Metascore
    • 75 Kyle Smith
    War was both cruel and magnificent, as Churchill once put it. To Gibson, it still is.
    • 54 Metascore
    • 75 Kyle Smith
    Dazzling fun. Jerry is master of a new domain.
    • 77 Metascore
    • 75 Kyle Smith
    Like its star, the movie is too short and a little thin but just about perfect.
    • 81 Metascore
    • 75 Kyle Smith
    Mesmerizing, eerie and unpredictably weird.
    • 56 Metascore
    • 75 Kyle Smith
    Maher's sense of humor deserts him in the end, though, when in an apocalyptic montage of fire and hate (bin Laden, Pat Robertson), he suggests all religions are equally bent on destruction of the Earth. It's fatuous to suggest that the Iraq war was launched because of religion or that belief in the Book of Revelation is the same as organizing terrorist attacks.
    • 87 Metascore
    • 75 Kyle Smith
    It’s the sweet sincerity of Brooklyn that stamps it as both refreshing and nostalgic. The film is as welcome as a photo you just discovered of your mother before you were born, in which she looks prettier than you ever imagined.
    • 64 Metascore
    • 75 Kyle Smith
    Takes a bit of "Swingers" and a bit of "Manhattan" to create a slacktacular vision of uncertain youth in today's L.A.
    • 46 Metascore
    • 75 Kyle Smith
    Turns out to be formulaic and broad but also skillfully paced and big-hearted, with a sharp cast of comics that makes the most of a sunny script.
    • 66 Metascore
    • 75 Kyle Smith
    A wicked little horror film in which nearly all of the violence takes place in your head, In Fear expertly builds terror out of not much more than two people driving around in a car.
    • 55 Metascore
    • 75 Kyle Smith
    An open- and-shut case, but that doesn't mean it can't also be an entertaining one.
    • 54 Metascore
    • 75 Kyle Smith
    Like a Canadian "Six Feet Under," the indie dramedy Whole New Thing mixes characters (teen and adult, gay and straight, married and single) who seem both completely plausible and capable of anything.
    • 68 Metascore
    • 75 Kyle Smith
    Pity the crowds expecting another cute comedy like "Date Night" who wind up at Crazy, Stupid, Love. It'll be like asking for a burger and getting served escargot.
    • 60 Metascore
    • 75 Kyle Smith
    Top performances by Guy Pearce and Felicity Jones, though, make the film emotionally rich.
    • 54 Metascore
    • 75 Kyle Smith
    Imagine "Clerks" director Kevin Smith with a background in poetry and painting instead of comic books and bestiality jokes, and you'll have an idea of what to expect from an exciting new filmmaker named Sean Ellis, whose terrific debut is called Cashback.
    • 95 Metascore
    • 75 Kyle Smith
    In the compelling but slow-moving Iranian film A Separation, a downbeat family drama of no particular distinction gradually turns into a mystery that raises painful moral questions. There may be several guilty parties.
    • 85 Metascore
    • 75 Kyle Smith
    It's mainly about a supremely annoying French-born LA clothier who became a hugely successful artist without pausing to consider his utter lack of originality or talent.
    • 62 Metascore
    • 75 Kyle Smith
    In their refusal to be up-to-the-moment, the Narnia movies are bound to age beautifully, perhaps much more so than the two Shrek films Adamson directed.
    • 66 Metascore
    • 75 Kyle Smith
    Bloody horror flicks need not be anemic when it comes to intelligence. The victims of You’re Next, as well as their slaughterers, are reasonably smart and resourceful. Their clash may not be as nasty as the battles of academia, but there’s a lot more common sense involved.
    • 67 Metascore
    • 75 Kyle Smith
    Yousef’s story, which he retells in the documentary The Green Prince, is one of unimaginable courage and moral awakening.
    • 72 Metascore
    • 75 Kyle Smith
    The film, like the man, is never boring.
    • 61 Metascore
    • 75 Kyle Smith
    In a captivating climax, the movie turns attractively freaky, though somewhat marred by cheesy special effects, and there’s a huge debt to the immense leaps of “2001.” An abrupt ending feels frustrating and leaves questions floating in space. Then again, I’m using only 3 to 5 percent of my capacity, so what do I know?
    • 37 Metascore
    • 75 Kyle Smith
    Those expecting an exhilarating, "Pulp Fiction"-style wrap-up will also be disappointed. Instead, Flowers gives us the impression - as the end of "Traffic" did - that we've just taken a few turns on a merry-go-round of doom that is going to keep spinning long after the movie ends.
    • 83 Metascore
    • 75 Kyle Smith
    The film is shaky as a procedural, and the level of official corruption seems more Moscow than Melbourne. Yet as a fable of power, vengeance and betrayal it exerts a quiet, increasingly wicked pull, equivalent to that of the wrinkly but ruthless grandma.

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