For 1,190 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 11.4 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Another Year
Lowest review score: 0 The Abduction of Zack Butterfield
Score distribution:
1,190 movie reviews
    • 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.
    • 71 Metascore
    • 75 Kyle Smith
    To keep this one-man show visually engaging, director Sophie Fiennes places the professor in sets and costumes from the movies, talking about “Full Metal Jacket” from atop a barracks toilet and “Brief Encounter” from a 1940s British train.
    • 68 Metascore
    • 75 Kyle Smith
    Based on a lesser-known Dostoyevsky work, Brit director Richard Ayoade’s breathtakingly realized oddity will appeal to fans of David Lynch and the comic surrealism of Terry Gilliam’s “Brazil.”
    • 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.
    • 54 Metascore
    • 75 Kyle Smith
    Touching and unexpectedly funny moments (such as McCartney busting out the theme song from “The Monkees”) mingle with highlights from the show for an unusually compelling keepsake from what might well be the last time many of these ’60s rockers perform together.
    • 59 Metascore
    • 75 Kyle Smith
    It’s Margaux, the tragic supermodel and failed actress who took her own life at 42, who emerges as the film’s fount of heartbreak in several stunning scenes.
    • 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.
    • 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?
    • 87 Metascore
    • 75 Kyle Smith
    Roger Ebert makes an unusual candidate for a documentary: He was a writer, which isn’t cinematic, and not the swashbuckling kind. He didn’t go to war zones, just movies.
    • 43 Metascore
    • 75 Kyle Smith
    There are enough sharp one-liners and funny situations to keep things entertaining even as Braff delves (lightly) into genuine dilemmas confronting many a married couple.
    • 56 Metascore
    • 75 Kyle Smith
    The attraction between the resolutely empirical scientist and his “spiritual,” hippy-dippy girlfriend gives the film an unpredictable quality.
    • 66 Metascore
    • 75 Kyle Smith
    This Morgan Freeman-narrated documentary doesn’t stray much from the nature-doc formula of making its stars look frisky and winsome while sprinkling in a few info-nuggets about the critters (they’re older than dinosaurs!). And that’s just fine.
    • 57 Metascore
    • 75 Kyle Smith
    Najafi stages action scenes with an intense, queasy beauty and elevates what is in its outlines a routine crime drama to near-operatic proportions.
    • 53 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.
    • 72 Metascore
    • 75 Kyle Smith
    The film, like the man, is never boring.
    • 66 Metascore
    • 75 Kyle Smith
    Yousef’s story, which he retells in the documentary The Green Prince, is one of unimaginable courage and moral awakening.
    • 58 Metascore
    • 75 Kyle Smith
    The gimmicky title is doubly misleading: The Disappearance of Eleanor Rigby is neither a mystery nor Beatles-themed, but it is an elegantly wrought tale of anguish.
    • 43 Metascore
    • 63 Kyle Smith
    As a spooky midnight movie, The Wolfman is worth curling up with.
    • 64 Metascore
    • 63 Kyle Smith
    The best Parisian action movie of the week is District 13: Ultimatum, a serviceable thriller with a lefty message.
    • 94 Metascore
    • 63 Kyle Smith
    Stretched both timewise and for plausibility.
    • 42 Metascore
    • 63 Kyle Smith
    It's all a gorgeous error, a bonfire of overreach.
    • 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.
    • 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.
    • 67 Metascore
    • 63 Kyle Smith
    Freaked-out funky weirdness starts to happen all around him (Rockwell).
    • 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.
    • 81 Metascore
    • 63 Kyle Smith
    As the two coaches head for a faceoff in a climactic live TV interview, writer Morgan starts to seem like a rip-off -- of himself.
    • 32 Metascore
    • 63 Kyle Smith
    Buscemi is appealing as always, but the movie, is only sporadically funny.
    • 89 Metascore
    • 63 Kyle Smith
    Some documentaries are a fervent search for truth; others are a fervent search for snickers. This one is the latter, providing via interviews and old film clips a Greatest Hits for Bush haters.
    • 84 Metascore
    • 63 Kyle Smith
    Director Alfonso Cuarón has a vision so mesmerizingly terrible that it alone - at least, for those who enjoy a gorgeous nightmare - is reason enough to see the film.
    • 52 Metascore
    • 63 Kyle Smith
    Yet what makes this movie is the digital effects. It's got all the heart of a demolition derby.