For 1,474 reviews, this critic has graded:
  • 33% higher than the average critic
  • 1% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 14.5 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 War Horse
Lowest review score: 0 Punisher: War Zone
Score distribution:
1474 movie reviews
    • 77 Metascore
    • 88 Kyle Smith
    It’s a captivating throwback that promises to lead the genre away from sci-fi flash and trickery. I’d rank it beside “X-Men: Days of Future Past” among the best X-Men entries.
    • 84 Metascore
    • 75 Kyle Smith
    It’s Peele’s first film, but it has none of the rough edges or self-indulgence you’d expect from a rookie.
    • 47 Metascore
    • 75 Kyle Smith
    Mia Goth is as fine a name as can be imagined for the actress playing a creepy, hollow waif in A Cure for Wellness, and her name is practically a tag line for this fantastically eerie movie: “Me a Gothic!”
    • 75 Metascore
    • 75 Kyle Smith
    Nutty as The Lego Batman Movie is in conception, it’s nifty in execution.
    • 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.
    • 59 Metascore
    • 75 Kyle Smith
    If (like me) you have a parental obsession with brainwashing your children to adore everything from Sinatra to “Shake It Off,” Sing may be your most effective weapon since “Happy Feet.”
    • 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.
    • 69 Metascore
    • 100 Kyle Smith
    A great American movie about the greatness of ordinary Americans, Patriots Day combines an electrifying manhunt with the intimacy and feel for character writer-director Peter Berg showed in his brilliant TV series “Friday Night Lights.”
    • 79 Metascore
    • 63 Kyle Smith
    Honorable, worthy and windy, Fences is essentially a PBS episode of “Great Performances” that is inflated for the big screen without ever quite belonging there.
    • 93 Metascore
    • 63 Kyle Smith
    La La Land deserves credit for high spirits even if it’s essentially a collection of glamorous throwback music videos for so-so songs.
    • 69 Metascore
    • 75 Kyle Smith
    This is a true story, and at times a gut-wrenching one, even if it necessarily sugarcoats some aspects of the plight of lost children.
    • 60 Metascore
    • 75 Kyle Smith
    This is Beatty’s first film in 15 years, a project he’s been working on for 40 years, and it’s immensely pleasing to see him in such fine form. Or, as his obsessive-compulsive subject would say, such fine form. Such fine form.
    • 96 Metascore
    • 100 Kyle Smith
    Affleck eschews all the actors’ clichés — burning intensity, soulful suffering, haunted brooding. It’s a magnificently interior performance, the sort of acting that doesn’t call attention to itself but draws us in to peer closer.
    • 67 Metascore
    • 75 Kyle Smith
    I’d love to tell you Tom Ford’s Nocturnal Animals is a cinematic masterpiece, and for most of its running time, that’s what I was planning to do. You must see it. But a great movie requires a great ending, and Nocturnal Animals doesn’t have one.
    • 71 Metascore
    • 75 Kyle Smith
    War was both cruel and magnificent, as Churchill once put it. To Gibson, it still is.
    • 84 Metascore
    • 75 Kyle Smith
    Any parent who has ever scrambled desperately to find a doll to appease a wailing child as though it were a life-and-death situation will appreciate the wit of this multilayered, dread-soaked chamber piece.
    • 69 Metascore
    • 100 Kyle Smith
    Both broader and deeper than the relentless and monotonous “12 Years a Slave,” it’s one of the few important movies to hit cinemas this year.
    • 65 Metascore
    • 63 Kyle Smith
    It’s told in a woefully pedestrian way, with talking-head footage forming the bulk of this slow-to-develop film. Still, it’s a creepily fascinating tale.
    • 67 Metascore
    • 75 Kyle Smith
    Deeply personal screenwriting and a superlative performance by Molly Shannon as a dying mom lift Other People above the level of many similar tragedy-inflected indie comedies.
    • 60 Metascore
    • 63 Kyle Smith
    Beautifully photographed and acted, with a somberly affecting tone, the film, by Derek Cianfrance, is nevertheless marred by severely contrived elements.
    • 74 Metascore
    • 75 Kyle Smith
    A pleasingly low-key effort pitched at fans of the first couple.
    • 71 Metascore
    • 75 Kyle Smith
    Apart from its thin characters and occasional trite moments, as well as a silly attempt to set up a sequel, Don’t Breathe is just about perfect. It’s as lean and relentless as the best John Carpenter films.
    • 75 Metascore
    • 88 Kyle Smith
    It’s a small movie, but in his third feature, indie writer-director Chad Hartigan proves he is a major talent, imbuing the interactions with wit and warmth and charm.
    • 88 Metascore
    • 75 Kyle Smith
    A desperado drama wrapped around a Bernie Sanders campaign speech, Hell or High Water overcomes its vapid political leanings with loads of West Texas atmosphere, smart dialogue and acutely observed relationships.
    • 71 Metascore
    • 88 Kyle Smith
    A cinematic enchantment, a low-key 1970s-style kids’ movie brimming with sincerity and heart. It’s one of the best films of the year.
    • 32 Metascore
    • 63 Kyle Smith
    Borrowing a few tricks from Martin Scorsese, the film isn’t a slavish imitation but an engrossing and grounded drama. It’s a pity, then, that director Federico Castelluccio, best known as Furio of “The Sopranos,” can’t deliver a powerful conclusion.
    • 70 Metascore
    • 88 Kyle Smith
    Like a Pixar movie shorn of the cutesy and manipulative aspects that marred “Inside Out,” the animated remake of The Little Prince, hitting theaters and Netflix, is as fragile and beautiful as the beloved rose guarded by the wee fellow of the title.
    • 60 Metascore
    • 63 Kyle Smith
    Bad Moms is like “Sex and the City: The Sneakers-and-Minivan Years,” a good-natured girl-power comedy that balances a bland sitcom structure with some weird and hilarious moments.
    • 78 Metascore
    • 88 Kyle Smith
    Indignation is devastating, haunting and important.
    • 58 Metascore
    • 88 Kyle Smith
    The sharpest, wildest and most unpredictable thriller I’ve seen this year.

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