For 163 reviews, this critic has graded:
  • 15% higher than the average critic
  • 3% same as the average critic
  • 82% lower than the average critic
On average, this critic grades 15.7 points lower than other critics. (0-100 point scale)

Derek Smith's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 88 The Girl Without Hands
Lowest review score: 0 Life Itself
Score distribution:
  1. Positive: 54 out of 163
  2. Negative: 72 out of 163
163 movie reviews
    • 58 Metascore
    • 50 Derek Smith
    Once the film shifts into a broader comedic register, it no longer capitalizes on Kumail Nanjiani and Issa Rae’s gift for gab.
    • 55 Metascore
    • 50 Derek Smith
    The film seems almost content to have you forget about everything that inspired it in the first place.
    • 83 Metascore
    • 75 Derek Smith
    The film’s devotion to the belief that kindness can be a balm for almost any hurt is deeply moving.
    • 57 Metascore
    • 63 Derek Smith
    1BR
    The film gives palpable expression to the sense of hopelessness felt by those who fall under the control of cults.
    • tbd Metascore
    • 75 Derek Smith
    The film vibrantly articulates all that’s lost when people are held under the draconian decree of warlords.
    • tbd Metascore
    • 75 Derek Smith
    The film speaks lyrically to a peoples’ determination to find a meaningful way to live in a rapidly changing modern world.
    • 73 Metascore
    • 63 Derek Smith
    The film is suitably direct, clear-eyed, and exhaustive in documenting the massive impacts that gerrymandering has, particularly on communities of color.
    • 58 Metascore
    • 50 Derek Smith
    So many grandiose tactics portend a grander revelation than the film’s otherwise low-key three-hander delivers.
    • 54 Metascore
    • 50 Derek Smith
    Wendy veers awkwardly and aimlessly between tragedy and jubilance, never accruing any lasting emotional impact.
    • 77 Metascore
    • 75 Derek Smith
    It’s within the murky realm of self-doubt and spiritual anxiety that it’s at its most audacious and compelling.
    • 62 Metascore
    • 63 Derek Smith
    The film is at its best when it’s focused on the euphoria and tribulations of its central couple's love affair.
    • 64 Metascore
    • 75 Derek Smith
    Beginning with the reversed names in its title, the film announces itself as a distinctly feminine spin on the Grimm fairy tale.
    • 51 Metascore
    • 38 Derek Smith
    The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.
    • 26 Metascore
    • 25 Derek Smith
    Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
    • 33 Metascore
    • 25 Derek Smith
    Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
    • 62 Metascore
    • 50 Derek Smith
    The film is overstuffed with characters and subplots that ultimately have little to do with Ip Man and his legacy.
    • 49 Metascore
    • 38 Derek Smith
    The filmmakers’ overly simplistic depiction of good and evil is mitigated to some degree by the presence of Landon (Caleb Eberhardt).
    • 42 Metascore
    • 50 Derek Smith
    The film is all surface, and its depiction of trauma becomes increasingly exploitative and hollow as it moves along.
    • 31 Metascore
    • 25 Derek Smith
    If there’s an ethos that Justin Dec’s film believes in, it’s only that “death sucks.”
    • 61 Metascore
    • 38 Derek Smith
    The film is imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls Shakespeare in Love.
    • 46 Metascore
    • 38 Derek Smith
    Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point.
    • 13 Metascore
    • 12 Derek Smith
    Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.
    • 74 Metascore
    • 63 Derek Smith
    The film is at its best when its focus remains on Ivins’s fierce commitment to her ideals and willingness to speak her mind.
    • tbd Metascore
    • 75 Derek Smith
    Milko Lazarov seems driven to record the inner workings of a singular slice of Inuit culture before it goes the way of the reindeer.
    • 43 Metascore
    • 50 Derek Smith
    The film frequently falls back on the stately demeanor of countless other historical biopics and period pieces. Read our review.
    • 43 Metascore
    • 63 Derek Smith
    The film more or less keeps things efficiently moving, wringing white-knuckle tension less through jump scares than from the darkness of a seemingly infinite void.
    • 70 Metascore
    • 63 Derek Smith
    The film’s improvisational feel helps to ground a fable-esque narrative in a discernible reality.
    • 74 Metascore
    • 75 Derek Smith
    Jay Maisel’s former home suggests a bastion of creativity in a neighborhood whose rough edges have been completely sanded down.
    • 80 Metascore
    • 63 Derek Smith
    The film captures a man haunted by his past mistakes and nearly certain that he doesn’t have the time left to begin making up for them.
    • 68 Metascore
    • 50 Derek Smith
    Through this endless string of undercooked subplots, Avi Nesher’s film continually trips over itself.

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