For 102 reviews, this critic has graded:
  • 14% higher than the average critic
  • 2% same as the average critic
  • 84% lower than the average critic
On average, this critic grades 17.2 points lower than other critics. (0-100 point scale)

Derek Smith's Scores

  • Movies
  • TV
Average review score: 46
Highest review score: 88 The Girl Without Hands
Lowest review score: 0 The Last Face
Score distribution:
  1. Positive: 31 out of 102
  2. Negative: 53 out of 102
102 movie reviews
    • 59 Metascore
    • 38 Derek Smith
    The film quickly reveals that the only angle it’s interested in is the one that most sympathizes with Gary Hart.
    • 70 Metascore
    • 75 Derek Smith
    The film's verité approach risks humanizing Abu Osama, but we eventually gain a complex understanding of the banality of his evil.
    • 73 Metascore
    • 63 Derek Smith
    The film is less hagiographic than most documentaries of its kind, which isn't to say that Tom Volf's adoration of his subject is ever in doubt.
    • 43 Metascore
    • 38 Derek Smith
    The film is a second-rate airport thriller that makes The Hunt for Red October seem like nonfiction by comparison.
    • 39 Metascore
    • 25 Derek Smith
    Relying on such arcane gags as prat falls in knight’s armor, fake French accents, and an array of gadget-based explosions, Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
    • 84 Metascore
    • 75 Derek Smith
    The film is most interested in homing in on the ways Nadia Murad's fragility and self-doubt arise as collateral damage from her fame and steadfast activism.
    • 62 Metascore
    • 63 Derek Smith
    Sadie remains a clear-eyed portrait of maternal love, teenage turmoil, and the singular type of tight-knit bonds formed, out of necessity in many cases, in low-income communities.
    • 69 Metascore
    • 12 Derek Smith
    That a drop from John Williams’s Jaws score wouldn’t be out of place on this film’s soundtrack goes to show how tactlessly Paul Greengrass milks tragedy for titillation.
    • 60 Metascore
    • 63 Derek Smith
    The film begins as a cheeky retro chamber drama before morphing into an often expectation-busting blend of noir and pitch-black comedy.
    • 42 Metascore
    • 38 Derek Smith
    The film uncomfortably dwells in a murky middle ground where everything is overblown but meant to be taken at face value.
    • 65 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.

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