For 623 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 6.3 points higher than other critics. (0-100 point scale)

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Bloody Sunday
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 623
623 movie reviews
    • 81 Metascore
    • 100 David Denby
    It's powerfully and richly imagined: a genre-busting movie that successfully combines the utmost in romanticism with the utmost in realism.
    • 90 Metascore
    • 100 David Denby
    In its lived-in, completely non-ideological way, Winter's Bone is one of the great feminist works in film.
    • 74 Metascore
    • 100 David Denby
    The movie is stunningly intelligent; the concluding passages, in which the game abruptly ends for both men, are frightening and, finally, very moving.
    • 95 Metascore
    • 100 David Denby
    Brilliantly entertaining and emotionally wrenching.
    • 88 Metascore
    • 100 David Denby
    Many documentaries are good at drawing attention to an outrage and stirring up our feelings. Ferguson's film certainly does this, but his exposition of complex information is also masterly. Indignation is often the most self-deluding of emotions; this movie has the rare gifts of lucid passion
    • 69 Metascore
    • 100 David Denby
    Hyper-articulate and often breathtakingly intelligent and always brazenly alive. I think it's easily the strongest American film since Clint Eastwood's "Mystic River," though it is not for the fainthearted.
    • 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.
    • 83 Metascore
    • 100 David Denby
    Hugo is superbly playful.
    • 82 Metascore
    • 100 David Denby
    Nothing has exploded on the screen in recent years as violently as that mad quarrel in a tiny room - a room that is Israel itself. [16 April 2012, p.86]
    • The New Yorker
    • 86 Metascore
    • 100 David Denby
    It's hard not to see Beasts as an expression of post-affluent America. And here's the surprise: the grinding Great Recession may never offer up a movie as happy, or as inspired by poetry and dream, as this one. [23 July 2012, p.80]
    • The New Yorker
    • 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
    • 85 Metascore
    • 100 David Denby
    Fruitvale Station is a confident, touching, and, finally, shattering directorial début.
    • 97 Metascore
    • 100 David Denby
    12 Years a Slave is easily the greatest feature film ever made about American slavery.
    • 81 Metascore
    • 100 David Denby
    I can’t think of another film portrait of higher education that matches this one for comprehensiveness, intellectual depth, and hope.
    • 90 Metascore
    • 100 David Denby
    Ida
    This compact masterpiece has the curt definition and the finality of a reckoning—a reckoning in which anger and mourning blend together.
    • 73 Metascore
    • 90 David Denby
    Quiety sumptuous movie. [15 April 2002, p. 98]
    • The New Yorker
    • 81 Metascore
    • 90 David Denby
    The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American.
    • 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.
    • 70 Metascore
    • 90 David Denby
    This movie is an emotionally coherent work--a burning experience of desperation and fleeting exhilaration. [1 September 2003, p. 130]
    • 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
    • 70 Metascore
    • 90 David Denby
    Trashy and opportunistic as some of it is, Training Day is the most vital police drama since "The French Connection" or "Serpico."
    • The New Yorker
    • 70 Metascore
    • 90 David Denby
    A blood-soaked, hellish experience -- a midnight special for lovers of a violent genre -- yet it has been made with a mixture of ferocity and sweetness which leaves one exhausted but at peace. [27 January 2003, p. 94]
    • 82 Metascore
    • 90 David Denby
    The movie turns into a serious and rather audacious study in the sexiness of a nonsexual relationship, though by the end the audience may be rooting for the two to quit risking life and limb and just go to bed together. [15 July 2002. p. 90]
    • The New Yorker
    • 80 Metascore
    • 90 David Denby
    An intimate epic.
    • The New Yorker
    • 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
    • 67 Metascore
    • 90 David Denby
    This Franco-Italian-Scottish co-production, directed by Damian Pettigrew, is an extraordinarily controlled piece of film. [14 April 2003, p.88]
    • The New Yorker
    • 67 Metascore
    • 90 David Denby
    It captures the city's bitter, wire-taut mood after September 11th, and I hope that Disney -- finds some way to bring this acrid and brilliant little picture to the large audience it deserves. [13 January 2003, p. 90]
    • The New Yorker
    • 63 Metascore
    • 90 David Denby
    All in all, Pirates of the Caribbean is the best spectacle of the summer: the absence of pomp is a relief, the warmth of the comedy a pleasure. [28 July 2003, p.94]
    • The New Yorker
    • 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
    • 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

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