For 1,467 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 12.6 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 The Salon
Score distribution:
1467 movie reviews
    • 83 Metascore
    • 88 Kyle Smith
    Mighty entertainment that makes you feel sorry for the saps next door in the multiplex.
    • 59 Metascore
    • 88 Kyle Smith
    Few documentaries have covered such an important matter so convincingly and with such clarity. When it comes to public education, we are all New Jerseyans.
    • 76 Metascore
    • 88 Kyle Smith
    Blue Caprice takes a minimalist, documentary-style approach that proves harrowingly effective.
    • 76 Metascore
    • 88 Kyle Smith
    This small movie carries great allegorical weight as it echoes the Manson Family, the long list of failed utopian communes that culminated in Bolshevism and the one-child policy that in China has prevented the births of untold numbers of girls.
    • 76 Metascore
    • 88 Kyle Smith
    The details are true and funny, played brilliantly.
    • 75 Metascore
    • 88 Kyle Smith
    The movie could -- should -- be a symphony, and it frequently makes excellent use of spare classical music. When Brosnan pipes up, he is as welcome as a car alarm.
    • 88 Metascore
    • 88 Kyle Smith
    What "Rent" should have been, Once is: a Bohemian rhapsody.
    • 63 Metascore
    • 88 Kyle Smith
    An improbable but hilarious combine of losin’-it comedies and the rarefied, Europhile air of the Cinema du Twee.
    • 66 Metascore
    • 88 Kyle Smith
    In other words, this punkish, sleek film about beautiful kids wallowing in purloined Prada could have been written by a grumpy 65-year-old white guy in gabardine, provided he had a sense of irony. The Bling Ring is the bridge between Coppola and Bill O’Reilly.
    • 83 Metascore
    • 88 Kyle Smith
    Can’t possibly deserve your close attention. Yet it does, with distilled honky-tonk poetry and generous good humor. It’s one of the year’s best, most deeply felt films.
    • 75 Metascore
    • 88 Kyle Smith
    Frustrating, at times agonizing, the film is nonetheless dappled with a sad beauty. It’s one of the best documentaries of the year.
    • 64 Metascore
    • 88 Kyle Smith
    Rom-coms died because they weren’t very rom and didn’t have enough com. But Sleeping With Other People, which is both hilarious and emotionally alive, is as delightful as a first date that crackles with possibility.
    • 66 Metascore
    • 88 Kyle Smith
    It’s too bad that Keaton plays Kroc as a grasping, alcoholic sleaze as he builds the McDonald’s brand into an all-American empire, but I forgive the movie’s cheap shots because this is one of the most thorough and satisfying depictions of business — everything from quality control to cost-cutting and branding — ever put on film.
    • 45 Metascore
    • 88 Kyle Smith
    Unlike many films that hope to be called black comedy, it does not skimp on either the black or the comedy.
    • 44 Metascore
    • 88 Kyle Smith
    I laughed more at Seth MacFarlane’s sendup of ’60s Westerns than I did at all the other comedies I’ve seen this year, combined.
    • 65 Metascore
    • 88 Kyle Smith
    Everything Must Go is cinematic pointilism. The big picture is familiar -- busted middle-age man, suburban alcoholic despair -- yet the details are so finely rendered that the overall impression is potently strange.
    • 74 Metascore
    • 88 Kyle Smith
    A triumphant and heartwarming film, not an angry and scolding one, that carefully maps how excellence and determination win over the doubters.
    • 74 Metascore
    • 88 Kyle Smith
    A great big snowy pleasure with an emotionally gripping core, brilliant Broadway-style songs and a crafty plot.
    • 58 Metascore
    • 88 Kyle Smith
    For boldness of execution as well as vision, The Red Chapel stands out as a singular, important comedy.
    • 38 Metascore
    • 88 Kyle Smith
    The slacker comedy-drama-romance-whatever Gigantic will fulfill all your alterna-movie weirdness requirements.
    • 54 Metascore
    • 88 Kyle Smith
    Sincerely directed by one woman (Phyllida Lloyd, who did "Mamma Mia!") and smartly written by another (Abi Morgan), the film stars an unsurpassable Meryl Streep, whose ability to empathize with her characters has never been more gloriously impassioned than it is in this titanic performance.
    • 66 Metascore
    • 88 Kyle Smith
    A brutally funny deconstruction, a hybrid of “Watchmen” and “Superbad” filtered through John Woo. It’s a boisterously original piece of entertainment . . . that isn’t for everyone. Note the rating, which should be triple-R, as in Really, Remarkably R.
    • 68 Metascore
    • 88 Kyle Smith
    Dizzy with celebrity, New York society and gay life (if all that isn't the same thing), Infamous is more fun. But "Capote" is a better movie.
    • 76 Metascore
    • 88 Kyle Smith
    Director Marc Silver expertly interweaves the courtroom drama and its larger social and human connotations.
    • 72 Metascore
    • 88 Kyle Smith
    The twists are executed superbly, right up to a climax that fits the David Mamet definition of what makes for a perfect ending: It is both surprising and inevitable.
    • 47 Metascore
    • 88 Kyle Smith
    After seeing Everybody's Fine, Paul McCartney offered to write a song that plays over the closing credits. That may be because the whole movie is like a celluloid McCartney tune: warm and playful and sweetly earnest, but lightly funny, too, and crafted with consummate skill.
    • 64 Metascore
    • 88 Kyle Smith
    Like the paintings of the master, Renoir is beautiful to look at, but it would be a mistake to call the film (or its subject) shallow.
    • 51 Metascore
    • 88 Kyle Smith
    As for Hoffman, the shambling Everyman naturalism he shows here gives God’s Pocket an added elegiac layer that makes its bitter ironies that much more painful.
    • 86 Metascore
    • 88 Kyle Smith
    There’s an exhilarating sadness to it all that amounts to cinematic poetry.
    • 85 Metascore
    • 88 Kyle Smith
    Thanks to his (Oldman) mastery, and Alfredson's, no film this year left me hungrier for a sequel.

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