For 625 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 6 points higher than other critics. (0-100 point scale)

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Capote
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 625
625 movie reviews
    • 94 Metascore
    • 100 David Denby
    What follows is astounding: a thirty-minute fight, which, in its bitterness, complication, and psychological revelation, recalls episodes from Ingmar Bergman's "Scenes from a Marriage." [27 May 2013, p.86]
    • The New Yorker
    • 88 Metascore
    • 100 David Denby
    Small-scaled and limited, Capote is nevertheless the most intelligent, detailed, and absorbing film ever made about a writer's working method and character--in this case, a mixed quiver of strength, guile, malice, and mendacity.
    • 79 Metascore
    • 100 David Denby
    A perfect family movie, a perfect date movie, and one of the most eye-ravishing documentaries ever made.
    • 92 Metascore
    • 100 David Denby
    An enthralling and powerfully eccentric American epic.
    • 76 Metascore
    • 100 David Denby
    Margin Call is one of the strongest American films of the year and easily the best Wall Street movie ever made.
    • 65 Metascore
    • 100 David Denby
    An Altman-influenced movie made without the master's acrid bitterness. The Last Kiss may come out of Italian opera and comedy, but in spirit it's Shakespearean -- objective, impassive, and at peace with a world in which men and women manage to be both ordinary and extraordinary. [5 August 2002, p.80]
    • The New Yorker
    • 85 Metascore
    • 100 David Denby
    In brief, Marshall Curry, the young director of Street Fight, has hit the documentary jackpot: the movie will become the inescapable referent for media coverage of the new campaign. And rightly so.
    • 81 Metascore
    • 100 David Denby
    The twin themes of The Hours are the variety of human bonds, especially the bond of love, and the gift that the dying make to the living. The miracle is that such sombre notions fit together as surely and lightly as the dancers in a Balanchine ballet. [23 & 30 December 2002, p. 166]
    • The New Yorker
    • 76 Metascore
    • 100 David Denby
    The sigh you will hear across the country in the next few weeks is the sound of a gratified audience: a great movie musical has been made at last.
    • 76 Metascore
    • 100 David Denby
    This production, directed by Michael Hoffman, is like a great night at the theatre--the two performing demons go at each other full tilt and produce scenes of Shakespearean affection, chagrin, and rage.
    • 95 Metascore
    • 100 David Denby
    Brilliantly entertaining and emotionally wrenching.
    • 97 Metascore
    • 100 David Denby
    12 Years a Slave is easily the greatest feature film ever made about American slavery.
    • 61 Metascore
    • 100 David Denby
    One of the most impressive movies ever made about espionage.
    • 83 Metascore
    • 100 David Denby
    Hugo is superbly playful.
    • 84 Metascore
    • 100 David Denby
    As close as we are likely to come on the screen to the spirit of Greek tragedy (and closer, I think, than Arthur Miller has come on the stage). The crime of child abuse becomes a curse that determines the pattern of events in the next generation. [13 October 2003, p. 112]
    • The New Yorker
    • 79 Metascore
    • 90 David Denby
    At its best, the movie is an exhilarating, surf-topping ride. With Minnie Driver providing the voice of a deliciously flirtatious Jane.
    • 88 Metascore
    • 90 David Denby
    The movie, Polley's feature début, is a small-scale triumph that could herald a great career.
    • 81 Metascore
    • 90 David Denby
    This tenacious artist has now given his father a proper memorial and has reasserted, with power and grace, the history and identity of his nearly effaced country.
    • 83 Metascore
    • 90 David Denby
    The movie's story may be a little trite, and the big battle at the end between ugly mechanical force and the gorgeous natural world goes on forever, but what a show Cameron puts on! The continuity of dynamized space that he has achieved with 3-D gloriously supports his trippy belief that all living things are one.
    • 94 Metascore
    • 90 David Denby
    Apparently, the movie has caused annoyance in some quarters because it criticizes the American way of life. This it does, and with suavity and supreme good humor. WALL-E is a classic, but it will never appeal to people who are happy with art only when it has as little bite as possible.
    • 73 Metascore
    • 90 David Denby
    A much better movie about the South during the Civil War than “Gone with the Wind”--visionary, erotic, and tragic where the older movie is flossy, merely ambitious and self-important. [22 & 29 December 2003, p. 166]
    • The New Yorker
    • 94 Metascore
    • 90 David Denby
    In this role Giamatti gives his bravest, most generously humane performance yet. Women may be repelled, but men will know this man, because, at one time or another, many of us have been this man.
    • 79 Metascore
    • 90 David Denby
    Pride is brilliantly entertaining just as it is, so I trust that no one connected with the film will be insulted if I say that, despite the existence of shows with similarly stirring themes, like “Billy Elliot” and “Kinky Boots,” the story would make a terrific musical.
    • 75 Metascore
    • 90 David Denby
    A sharply intelligent and affecting view of suburban blues.
    • 81 Metascore
    • 90 David Denby
    A new kind of affectionate satire which is all but indistinguishable from an embrace. [5 May 2003, p. 104]
    • The New Yorker
    • 67 Metascore
    • 90 David Denby
    In this handsomely traditional movie, Kevin Costner has tried to fix the Western myth for all time in the stern contours of Duvall’s face and the guttural beauty of his voice. [1 September 2003, p. 130]
    • The New Yorker
    • 90 Metascore
    • 90 David Denby
    The movie is an O. Henry-like conceit--the slenderness of the initial premise is part of the charm--but the anecdote becomes almost momentous as it goes on.
    • 94 Metascore
    • 90 David Denby
    Mr. Turner is a harsh, strange, but stirring movie, no more a conventional artist’s bio-pic than Robert Altman’s wonderful, little-seen film about van Gogh and his brother, “Vincent and Theo.”
    • 79 Metascore
    • 90 David Denby
    The film turns into a triumph for Don Cheadle, who never steps outside the character for emotional grandstanding or easy moralism.
    • 92 Metascore
    • 90 David Denby
    Consistently beautiful and often exciting -- despite some dead passages here and there, it's surely the best big-budget fantasy movie in years. [24 & 31 Dec 2001, p. 126]
    • The New Yorker

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