For 92 reviews, this critic has graded:
  • 15% higher than the average critic
  • 2% same as the average critic
  • 83% lower than the average critic
On average, this critic grades 17.3 points lower than other critics. (0-100 point scale)

Derek Smith's Scores

  • Movies
  • TV
Average review score: 46
Highest review score: 88 Night on Earth
Lowest review score: 0 Life Itself
Score distribution:
  1. Positive: 26 out of 92
  2. Negative: 48 out of 92
92 movie reviews
    • tbd Metascore
    • 38 Derek Smith
    As the historical specificity embedded in the film’s more expansive opening act is abandoned, the more predictable, archetypal trappings of a revenge narrative begin to take hold.
    • 21 Metascore
    • 0 Derek Smith
    Despite its title, Life Itself doesn’t revel so much in the joys and travails of life as it does in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
    • 51 Metascore
    • 50 Derek Smith
    Despite Ari Gold’s knack for visual flourishes that capture a sense of place seemingly outside of time, The Song of Sway Lake plays like several disparate melodies overlapping one another.
    • 67 Metascore
    • 50 Derek Smith
    A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller. Which is to say that the film doesn't evince the seamlessness of presentation of its clearest antecedent: David Fincher's "Gone Girl."
    • 46 Metascore
    • 38 Derek Smith
    The Nun is the cinematic equivalent of a Conjuring-inspired maze at Halloween Horror Nights at Universal Studios.
    • 27 Metascore
    • 12 Derek Smith
    The film aims only to shock, refusing to deliver anything in an intriguingly post-ironic way in the process.
    • 62 Metascore
    • 38 Derek Smith
    The Bookshop is steadfast in avoiding drama at all costs.
    • 67 Metascore
    • 50 Derek Smith
    The film is loaded with inconsequential detours and questionable and inconsistent character psychology as it stumbles awkwardly to its foregone conclusion.
    • 74 Metascore
    • 75 Derek Smith
    The filmmakers’ ability to seamlessly explore rapidly shifting Chinese cultural norms within the context of the classic trope of a mother who’s hostile toward her son’s partner is the film’s most impressive feat.
    • 47 Metascore
    • 25 Derek Smith
    Aside from the occasional idiosyncratic comic beat, Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
    • 71 Metascore
    • 63 Derek Smith
    As nimble as Aneesh Chaganty is in presenting his main character's multi-faceted interaction with technology in the first hour, the film suddenly morphs into a generic and manipulative missing-person thriller.
    • 76 Metascore
    • 50 Derek Smith
    The film takes aim at myriad targets and bluntly satirizing them in disparate styles that never mesh into a cohesive whole.
    • 36 Metascore
    • 38 Derek Smith
    The film trots out thinly conceived villains and a murky plot twists that leave crucial details needlessly shrouded in mystery.
    • 54 Metascore
    • 38 Derek Smith
    There are only so many monster-centric jokes to be made before they become toothless, and only so many ways to preach tolerance before it sounds more like blunt moralizing.
    • 45 Metascore
    • 38 Derek Smith
    Rob Reiner's film rests on broad, sweeping proclamations about the importance of factual reporting.
    • 69 Metascore
    • 63 Derek Smith
    The film flirts with miserablism, but it counterbalances the direness of its main character's situation with moments of levity.
    • 40 Metascore
    • 38 Derek Smith
    Akiyuki Shinbo and Nobuyuki Takeuchi's time-travel device mostly just exists to complicate what is, at heart, a trite and sexist love story.
    • 61 Metascore
    • 50 Derek Smith
    With Ocean's 8, Gary Ross serves up a mildly engaging riff on the heist film, but he rarely strays from the established formula of Steven Soderbergh's original Ocean's trilogy.
    • 85 Metascore
    • 75 Derek Smith
    It captures the strength of Fred Rogers's convictions even as his gentleness and sincerity fell further out of favor.
    • 67 Metascore
    • 63 Derek Smith
    Upgrade is most effective when mining the comical and bizarre love-hate chemistry between Grey and Stem and pairing that singular conflict with batshit-crazy action, but the film’s follow-through is clunky and unfulfilling.
    • 72 Metascore
    • 50 Derek Smith
    The film seems far more interested in celebrating a short-lived era of artistic invention than interrogating it.
    • 62 Metascore
    • 63 Derek Smith
    Throughout, director Masaaki Yuasa’s imagination runs so wild that it becomes impossible to resist.
    • 42 Metascore
    • 25 Derek Smith
    All of the broad physical humor in the world can't distract from the fact that the film is an endorsement of psychological exploitation.
    • 75 Metascore
    • 63 Derek Smith
    In Marlo, Diablo Cody has created her most complicated character to date. Would that her writing displayed similar richness and empathy in painting the film's supporting characters.
    • 48 Metascore
    • 38 Derek Smith
    It fills the screen with a series of explicative conversations set in offices, hotels, and cars throughout which people don’t so much talk to each other as indirectly to the audience.
    • 39 Metascore
    • 38 Derek Smith
    The gravity of Krystal's situation is undermined at every turn by the filmmakers' excessively broad, comedic strokes.
    • 87 Metascore
    • 75 Derek Smith
    The film is a meticulous examination of how the dehumanization of Australia's native population bred an environment of cyclical violence and mistrust.
    • 49 Metascore
    • 38 Derek Smith
    Writer-director Susan Walter's film seems almost determined to disprove the causality of social phenomena.
    • 38 Metascore
    • 25 Derek Smith
    Throughout, the film's tone vacillates jarringly between corny, broad humor and unrestrained treacle.
    • 71 Metascore
    • 75 Derek Smith
    Emmanuel Gras resists pitying or sentimentalizing his main subject, or exalting him merely for his resilience in the face of such a harsh, uncaring reality.

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