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 Tideland
Score distribution:
1474 movie reviews
    • 52 Metascore
    • 50 Kyle Smith
    Robin Williams’ last live-action film, Boulevard, is a frustrating ending to a stellar career, a cramped and melancholy film about a cramped and melancholy man.
    • 34 Metascore
    • 38 Kyle Smith
    Self/less is a celluloid smoothie blended from dozens of familiar elements, but it’s neither tasty nor nutritious.
    • 56 Metascore
    • 38 Kyle Smith
    By far, the highlight of Minions is hearing The Beatles’ “Got To Get You Into My Life” over the closing credits — the first time I think I’ve ever heard it used in a movie. Otherwise, the prequel to “Despicable Me” is like trying to form a rock band out of three Ringos.
    • 76 Metascore
    • 63 Kyle Smith
    Looking at the Mexican drug wars from both sides of the border, Cartel Land is punchy and vital but not particularly informative.
    • 48 Metascore
    • 63 Kyle Smith
    Ted 2 has so many mo–ments of crazy brilliance that I laughed a lot, if infrequently. Is a ballplayer who whiffs four balls but knocks the fifth one 500 feet worth watching? I say yes.
    • 56 Metascore
    • 50 Kyle Smith
    Hutcherson isn’t particularly adept at playing moral anguish, but the film maintains an electrifying tension for its first half as we wonder just how far his character will go. In the second half, though, the film degenerates into a desultory action movie as everybody starts creeping around trying to shoot one another.
    • 76 Metascore
    • 88 Kyle Smith
    Director Marc Silver expertly interweaves the courtroom drama and its larger social and human connotations.
    • 72 Metascore
    • 50 Kyle Smith
    As a comedy, the film isn’t especially funny, and as a screwball drug caper a la “Go,” it’s raggedly plotted, with ridiculous coincidences popping up everywhere.
    • 51 Metascore
    • 63 Kyle Smith
    Don’t expect the real dirt on “Saturday Night Live” from the doc Live From New York! The movie is fun, but it’s a cinematic coffee-table book.
    • 61 Metascore
    • 25 Kyle Smith
    It’s a tiresome, preachy, repetitive, disorganized and dismally unfunny attempt to appeal to Michael Moore fans. The overall temperature of their efforts is strictly room: Call this “Fahrenheit 68.”
    • 59 Metascore
    • 75 Kyle Smith
    None of this is ever quite as great as it is in Spielberg’s work, but it’s reasonably close; the worst you can say about the movie is that it sticks to a highly potent formula.
    • 76 Metascore
    • 63 Kyle Smith
    The film is elegantly done, mainly because it wisely expends most of its energy on Alicia Vikander’s face.
    • 48 Metascore
    • 50 Kyle Smith
    Beginning as an adorable romcom, Hungry Hearts morphs into a disturbing but not particularly illuminating story of mental illness.
    • 75 Metascore
    • 50 Kyle Smith
    Spy
    Alas, “sad case” is not how we want to see McCarthy; it’s frustrating to see her spend more than half the movie being the pathetic target of jokes rather than the dominating figure she was in “Bridesmaids” and “The Heat,” both of which are far funnier than this one.
    • 38 Metascore
    • 50 Kyle Smith
    The Entourage formula feels warmed-over, played-out, spent.
    • 58 Metascore
    • 75 Kyle Smith
    Laden with witty ironies, the film by Anne Fontaine suggests men may not play exactly the roles they think they do in women’s lives.
    • 73 Metascore
    • 50 Kyle Smith
    The movie can be mildly amusing. But I couldn’t figure out which of the three principals I least wanted to know.
    • 44 Metascore
    • 38 Kyle Smith
    Treading the same halls as “Kick-Ass” and “Kingsman,” Barely Lethal imagines an academy of teen assassins. Life there is deadly, but not as scary as high school.
    • 70 Metascore
    • 88 Kyle Smith
    The exhilarating documentary Sunshine Superman, which melds gorgeous aerial photography of Boenish’s jumps with sublime musical cues, finds in Boenish a kind of poet-adventurer, equal parts pixie and desperado.
    • 47 Metascore
    • 63 Kyle Smith
    This serviceable remake sticks fairly closely and smartly to the same plot, with the same scary objects and even the line, “They’re here.”
    • 63 Metascore
    • 50 Kyle Smith
    A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.
    • 63 Metascore
    • 75 Kyle Smith
    Not as aca-mazing as “Pitch Perfect” (which made my 10-best list for 2012), the follow-up should have been cut by 10 or 15 minutes. First-time director Elizabeth Banks (who returns as a snarky announcer) doesn’t have the zippy comic timing of the first film’s helmer, Jason Moore.
    • 72 Metascore
    • 38 Kyle Smith
    Slow West certainly lives up to its title: It’s one poky Western, plodding and perambulating and moseying across the 1870 frontier on a grim march to a pointless ending.
    • 67 Metascore
    • 75 Kyle Smith
    A passable French homage to the American crime epic, The Connection has plenty of visual style to go with stock characters.
    • 52 Metascore
    • 38 Kyle Smith
    Bidding to be the “Terms of Endearment” of zombie movies, Maggie sucks all the life out of an idea that just won’t die.
    • 69 Metascore
    • 100 Kyle Smith
    It’s that priceless dialogue, the bitter ironies, the magnificently skeevy cast of characters and even the overall structure that make The Seven Five “Goodfellas” in blue.
    • 60 Metascore
    • 63 Kyle Smith
    The Spandau Ballet documentary Soul Boys of the Western World has all the kooky clothes, zippy songs and ’80s optimism you could ask for in a film about a group that had only one big US hit (but several in the UK). Why do I find it hard to write the next line? The band wasn’t that great.
    • 66 Metascore
    • 50 Kyle Smith
    Whedon keeps approaching ideas, but every time he does so he leaves a flaming bag of dog poop on the doorstep, rings the bell and runs away tittering.
    • 51 Metascore
    • 75 Kyle Smith
    The film is as tender and endearing as a lamb, a lamb at rest in a fragrant atmosphere. It’s a film that has a determined, unironic respect for things past. It’s as if millennial hipsterism, with its feigned fascination for all things retro, took a surprising further step: actual respect for learning, for experience, for wisdom.
    • 30 Metascore
    • 25 Kyle Smith
    Though Wilkinson gives an atypically restrained performance that lends the movie its best moments, and Watson manages to breathe a little life into her underwritten character, the movie is hopelessly simple-minded, with corny fantasy sequences, slathered-on folksiness and a plot twist that it would take a miracle of self-delusion not to see coming.

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