For 628 reviews, this critic has graded:
  • 47% higher than the average critic
  • 1% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 4 points higher than other critics. (0-100 point scale)

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 In the Bedroom
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 628
628 movie reviews
    • 66 Metascore
    • 50 David Denby
    Near the end of the journey, chronicling Sunni car bombers in Iraq, he (Baer) talks sorrowfully of Muslims killing Muslims, and he concludes that suicide bombing has lost any coherent political meaning and has taken on an irresistible life of its own as a glamorous cult.
    • 68 Metascore
    • 50 David Denby
    Tintin is exhausting, and, for all its wonders, it wears one out well before it's over.
    • 74 Metascore
    • 50 David Denby
    The unexciting look and feel of the movie wouldn’t have bothered me if the filmmakers had penetrated Hanssen’s skull a little.
    • 74 Metascore
    • 50 David Denby
    The Duplasses' sensitivity, which is genuine, yields too much tepid relationship-speak, and Marisa Tomei, one of the most appealing actresses in Hollywood, is left with little to play.
    • 55 Metascore
    • 40 David Denby
    Luhrmann's vulgarity is designed to win over the young audience, and it suggests that he's less a filmmaker than a music-video director with endless resources and a stunning absence of taste. [13 May 2013, p.78]
    • The New Yorker
    • 41 Metascore
    • 40 David Denby
    The movie isn’t a desecration, but it’s action filmmaking, not America, that needs to be reborn.
    • 56 Metascore
    • 40 David Denby
    W.
    Richard Dreyfuss, hunching over and baring his teeth like a shark cruising off a Martha's Vineyard beach, does a wicked impersonation of Cheney. His relish for the part suggests that the movie should have been done not as an earnest bio-pic but as a satirical comedy -- as a contemporary "Dr. Strangelove," with a cast of satyrs and clowns.
    • 64 Metascore
    • 40 David Denby
    Second-rate bawdiness--that is, bawdiness without the wit of Boccaccio or Shakespeare or even Tom Stoppard--is more infantile than funny, and I’m not sure that the American playwright Jeffrey Hatcher, who concocted this piece for the stage and then adapted it into a movie, is even second-rate.
    • 56 Metascore
    • 40 David Denby
    The Recruit is quick and tense, and some of it is fun, but I didn't believe a single thing in it, and the over-all effect of the movie is to make one depressed that the Christmas "art" season is over. [27 January 2003, p. 94]
    • The New Yorker
    • 63 Metascore
    • 40 David Denby
    Even Frances McDormand, the salt-of-the-earth actress who has warmed so many of the Coen brothers movies, falls into a queasy dead zone.
    • 65 Metascore
    • 40 David Denby
    I know there are intelligent people who are awed by this sort of deep-dish magical mystery tour, but surely something is wrong with a movie when you can't tell a live character from a dead one and you don't care which is which. [9 December 2002, p. 142]
    • The New Yorker
    • 49 Metascore
    • 40 David Denby
    The picture is a kind of fattened goose that's been stuffed with goose-liver pâté. It's overrich and fundamentally unsatisfying.
    • 39 Metascore
    • 40 David Denby
    The Green Hornet is what you get when someone who dropped out of high school to do standup comedy, then spent a decade in movies and television, conceives a Hollywood "passion project." [24 Jan. 2011, p. 82]
    • The New Yorker
    • 62 Metascore
    • 40 David Denby
    Bertolucci is trying hard to shock us with this stuff, but, for all the perversities and the abundant nudity, the movie has an air of inconsequence about it. [9 February 2004, p. 74]
    • The New Yorker
    • 56 Metascore
    • 40 David Denby
    It's not boring (given the subject, how could it be?), but almost nothing in it works.
    • 47 Metascore
    • 40 David Denby
    In the movie's best moments, the misery has a comic lilt to it. [28 Jan 2002, p. 90]
    • The New Yorker
    • 37 Metascore
    • 40 David Denby
    Penn gives a strenuous, at times shrewd and acid performance, which has been embedded, unfortunately, in a clumsy and ineffective movie.
    • 57 Metascore
    • 40 David Denby
    Morning Glory has a depressed, rancid air. [22 Nov. 2010, p. 141]
    • The New Yorker
    • 83 Metascore
    • 40 David Denby
    A shapeless mess, but at least it’s not as monotonous as “Kill Bill Vol. 1.” [19 & 26 April 2004, p. 202]
    • The New Yorker
    • 46 Metascore
    • 40 David Denby
    Has its satirical charms, but it repeats itself remorselessly, and it has no emotional center. We are so distant from Val that when he gets his sight back we don't feel a thing. [20 May 2002, p.114]
    • The New Yorker
    • 55 Metascore
    • 40 David Denby
    Thoroughly derivative, and it doesn't illuminate youth crime -- it exploits it.
    • 42 Metascore
    • 40 David Denby
    The movie is derivative, flat, halfhearted, its squareness unrelieved by irony or fantasy. [3 March 2003, p. 94]
    • The New Yorker
    • 64 Metascore
    • 40 David Denby
    The movie is halfhearted, fragmentary, unachieved.
    • 59 Metascore
    • 40 David Denby
    An interminable, redundant, unnecessary epic devoted to suffering, suffering, suffering.
    • 60 Metascore
    • 40 David Denby
    The filmmakers, I think, got in over their heads and couldn't decide whether they were making an action thriller or a drama of conscience; they wound up flubbing both.
    • 45 Metascore
    • 40 David Denby
    Crowe is attempting a modern screwball comedy--the kind of thing that, sixty years ago, Howard Hawks, directing Gary Cooper and Barbara Stanwyck, would have turned into romantic farce--but he has scaled the movie as an epic and turned his gabby heroine into a fount of New Age wisdom.
    • 57 Metascore
    • 40 David Denby
    “Them” — apart from a few affecting scenes — is a hollow, high-minded folly.
    • 79 Metascore
    • 40 David Denby
    The two characters are ciphers, and the script, which Sachs co-wrote with Mauricio Zacharias, is by turns underwritten or banal.
    • 50 Metascore
    • 40 David Denby
    After the complex buildup of tensions, the last ten minutes of the movie are a comic-pathetic letdown: the subdued acting and the trash-strewn street scenes lead to nothing more striking than the kind of overexplicit clichés heard in mediocre TV dramas. Even De Niro's discipline and skill can't save lines that should never have been spoken in the first place. [9 September 2002, p.162]
    • The New Yorker
    • 67 Metascore
    • 40 David Denby
    The futility of a noodling movie star is hardly a revelation of the absurdity of the human condition, or whatever this movie is supposed to be about. [20 & 27 Dec. 2010, p. 146]
    • The New Yorker

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