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 14.4 points lower than other critics. (0-100 point scale)

Kyle Smith's Scores

  • Movies
  • TV
Average review score: 49
Highest review score: 100 Knocked Up
Lowest review score: 0 The Tortured
Score distribution:
1474 movie reviews
    • 65 Metascore
    • 38 Kyle Smith
    This one is a “different kind of superhero movie,” meaning even more fiercely attached to the mode of artistic expression known as “puberty.”
    • 26 Metascore
    • 50 Kyle Smith
    I was too bored to hate the movie. Besides, who hates a stuffed animal? If it actually said something intelligent or surprising, you’d be alarmed, not pleased.
    • 73 Metascore
    • 50 Kyle Smith
    The Club offers plenty of stifling, agonized atmosphere, but it’s all penitence and no redemption.
    • 22 Metascore
    • 25 Kyle Smith
    A self-serving remark on the part of the filmmakers, who place only the tiniest fig leaf of a story on a panoramic canvas of the gory, gross and repellent.
    • 33 Metascore
    • 25 Kyle Smith
    The undercaffeinated middle of the film consists of dopey twists, slow-burning gazes and dialogue that aims for “heartfelt” but comes out “unfortunate.”
    • 41 Metascore
    • 50 Kyle Smith
    Mojave is a movie-length standoff between two detestable villains. One is a serial killer. The other is a filmmaker.
    • 48 Metascore
    • 75 Kyle Smith
    Still, if 13 Hours lacks the gravitas of “American Sniper,” it’s powerful stuff. Bay’s goal is to put you right in these men’s boots, to feel the heat, the fear, the fatigue, the weight of the weapons and the web of camaraderie.
    • 32 Metascore
    • 12 Kyle Smith
    To call Ride Along 2 rubbish is unfair to rubbish, which at some point had a purpose.
    • 34 Metascore
    • 50 Kyle Smith
    Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.
    • 71 Metascore
    • 63 Kyle Smith
    Despite the underlying wretchedness, though, the characters exude a sense of having so little interior life that none of this, or anything else, fazes them. That’s disturbing, too.
    • 88 Metascore
    • 88 Kyle Smith
    There’s something strange and dreamlike and delicate and beautiful about Anomalisa, an animated film for grown-ups that takes a long while to make its point, but does so with a dark brilliance.
    • 76 Metascore
    • 75 Kyle Smith
    A film I admired, but didn’t especially like, The Revenant is a master class in craftsmanship, marrying the ethos of 1970s Hollywood, with its beaten-dog heroes forever roughed up by a brutal system, to the technological prowess of today’s digitally obsessed blockbusters.
    • 55 Metascore
    • 63 Kyle Smith
    The film is sober, honest and serious about an important subject.
    • 33 Metascore
    • 0 Kyle Smith
    Three talking critters sing, dance and tell jokes, and I really wish they wouldn’t. Their act isn’t just dull — it’s almost as bad as One Direction’s.
    • 81 Metascore
    • 63 Kyle Smith
    The shamelessness with which Star Wars: The Force Awakens replays the franchise’s greatest hits is startling. To put it another way, it’s a satisfying meal — but it’s $200 million worth of leftovers.
    • 81 Metascore
    • 25 Kyle Smith
    At the end of it all comes McKay’s big angry harrumph about the meaning of the crisis — a sign of failed, frustrated satire. If you can make your message clear through comedy, there’s no need to say, “Here’s my moral.” A funnyman can’t afford to get caught wagging his finger.
    • 71 Metascore
    • 75 Kyle Smith
    Lately, the Shakespeare plays on film tend to be either too self-consciously irreverent on the one hand or too stodgy on the other; Kurzel’s Macbeth takes a point of view without betraying the Bard.
    • 70 Metascore
    • 63 Kyle Smith
    Smith’s appeal, just, holds together a thin plot upon which Bennett, who wrote the script, and director Nicholas Hytner have loaded gimmicks.
    • 36 Metascore
    • 0 Kyle Smith
    By going exactly where you think it’s going, Victor Frankenstein doesn’t so much invent a fresh origins story as it essentially repeats, with a few uninteresting new details, all the same stuff we’ve seen in the other 457 Frankenstein movies.
    • 58 Metascore
    • 25 Kyle Smith
    I was searching for a metaphor to capture the experience of watching The Night Before when a character fell backward into a dumpster full of garbage bags. Thanks, guys!
    • 65 Metascore
    • 63 Kyle Smith
    Somewhere on the axis where David Lynch, Paul Thomas Anderson and Joey Bishop intersect, a man in a Salvation Army tuxedo wanders the Mojave Desert supplying anti-comedy to every cocktail lounge and prison in his path. This is Entertainment.
    • 83 Metascore
    • 25 Kyle Smith
    An indie exercise in macho posturing disguised as a tale of grief, reminds us that losing one’s parents is psychically debilitating. But that’s about as useful as knowing that rain is wet.
    • 31 Metascore
    • 63 Kyle Smith
    Unfortunately, director Jessie Nelson (“I Am Sam”) gradually turns the script into marzipan.
    • 37 Metascore
    • 50 Kyle Smith
    Don’t expect too much of Heist — it’s a cheesy formula picture all the way — but it has solid character foundations, the occasional bright line of dialogue (“Cops, this is robbers,” Morgan says on a phone call) and a neat final twist. As throwbacks go, it’s more bearable than shoulder pads.
    • 88 Metascore
    • 75 Kyle Smith
    It’s the sweet sincerity of Brooklyn that stamps it as both refreshing and nostalgic. The film is as welcome as a photo you just discovered of your mother before you were born, in which she looks prettier than you ever imagined.
    • 32 Metascore
    • 25 Kyle Smith
    A horror-comedy that takes a weak premise (do high school boys even go scouting anymore?) and barely uses it, anyway.
    • 42 Metascore
    • 38 Kyle Smith
    Both Adam and the stakes are so low, it’s like watching 100 minutes of a slug trying to crawl over a twig.
    • 34 Metascore
    • 25 Kyle Smith
    The movie left me amazed — amazed that Nicolas Cage wasn’t in it.
    • 86 Metascore
    • 38 Kyle Smith
    Dopey as the film is on a plot level, it’s equally vapid in its psychology.
    • 79 Metascore
    • 38 Kyle Smith
    Sure to be a favorite with racists, Beasts of No Nation sheds no light whatsoever on Africa’s civil wars but turns its gaze on black people brutalizing one another with machetes, howitzers, rifles and anything else that comes to hand. I picture Calvin Candie, the plantation owner in “Django Unchained,” yelling, “Yeah! Git ’em!”

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