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 6.2 points higher than other critics. (0-100 point scale)

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Osama
Lowest review score: 10 Dreamcatcher
Score distribution:
  1. Negative: 47 out of 625
625 movie reviews
    • 78 Metascore
    • 80 David Denby
    Like a finely wrought short story, and it's all but perfect.
    • 78 Metascore
    • 70 David Denby
    We are entertained, but we see this squalid world clearly. The great cinematographer Chris Menges keeps the images cool and crisp. [15 September 2003, p.100]
    • The New Yorker
    • 78 Metascore
    • 80 David Denby
    The Counterfeiters is a testament to guile. Ruzowitzky scored the picture with tangos, and the tangos are meant to be Sally’s music--seductive, insolent, triumphant.
    • 78 Metascore
    • 60 David Denby
    The memoir is strongly written, and I wish that the movie, directed by John Curran (Marion Nelson did the adaptation), had more excitement to it.
    • 78 Metascore
    • 50 David Denby
    The battle scenes are extraordinarily mucky and violent, but here, as in Tavernier's "Let Joy Reign Supreme," the intricate protocols of aristocratic sexual passion are the most startling elements. The movie, however, is opaque at its center. [25 April, 2011 p. 89]
    • The New Yorker
    • 78 Metascore
    • 80 David Denby
    Zodiac is superbly made, but it's also a strange piece of work.
    • 77 Metascore
    • 100 David Denby
    Brilliantly entertaining.
    • 77 Metascore
    • 90 David Denby
    An exhausting, morbidly fascinating, and finally thrilling experience.
    • 77 Metascore
    • 80 David Denby
    Eminem does not come off as a megalomaniac in 8 Mile, but he expects people to be very, very impressed. I doubt he could lend himself to a fiction that said anything else: his eyes couldn't tell any story but his own. [11 November 2002, p. 195]
    • The New Yorker
    • 77 Metascore
    • 90 David Denby
    An extraordinarily precise and well-made political thriller--the best thing Polanski has done since the seventies, when he brought out the incomparable “Chinatown” and the very fine “Tess.”
    • 77 Metascore
    • 70 David Denby
    It's only at the end of Blue Ruin that my pleasure drained away. [28 April 2014, p.86]
    • The New Yorker
    • 77 Metascore
    • 50 David Denby
    O.K. for children.
    • 77 Metascore
    • 90 David Denby
    This is a fully felt, morally alert, marvellously acted piece of work. Despite the grim subject, it's a sweet-tempered movie, with moments of explosive humor-an entertainment.
    • 77 Metascore
    • 60 David Denby
    The movie won't do much for anyone who doesn't have an academic or fanboy absorption in junk.
    • 77 Metascore
    • 40 David Denby
    In this movie, Phoenix turns himself inside out, but Cotillard’s reserved performance doesn’t move us. Bruno advances in his confused way, Ewa resists, and, despite Jeremy Renner’s flickering presence, the movie becomes dour and repetitive. Looking at them, you finally think, Enough! Life must be elsewhere.
    • 76 Metascore
    • 80 David Denby
    Abrupt and fragmentary, but powerful. [Dec 10 2001, p. 111]
    • The New Yorker
    • 76 Metascore
    • 80 David Denby
    Infinitely charming new romantic comedy.
    • 76 Metascore
    • 80 David Denby
    In this movie, Fonda really is iconic. 3:10 to Yuma may be familiar, but, at its best, it has a rapt quality, even an aura of wonder.
    • 76 Metascore
    • 80 David Denby
    This austere production has fire enough; it captures the elemental Bronte passions. [14 March 2011, p. 79]
    • The New Yorker
    • 76 Metascore
    • 70 David Denby
    A major film without being a great film. It's a strange movie, and a stunningly pessimistic one, and the strangeness and pessimism connect it to other recent American films in ways that suggest that something unhappy in the national mood has crept into the movies.
    • 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
    • 80 David Denby
    We get tired of watching Whip fail, and we're caught between dismayed pity and a longing to see him punished. Only a great actor could have pulled off this balancing act. [12 Nov. 2012, p.94]
    • The New Yorker
    • 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.
    • 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.
    • 76 Metascore
    • 60 David Denby
    The scenery, of course, could stop the heart of a mountain goat, and Wild has an admirable heroine, but the movie itself often feels literal-minded rather than poetic, busy rather than sublime, eager to communicate rather than easily splendid.
    • 76 Metascore
    • 80 David Denby
    The pace of the movie is rapid, almost hectic, the touch glancing. Until the confrontation between Frank and Richie at the end, nothing stays on the screen for long, although Scott, working in the street, or in clubs and at parties, packs as much as he can into the corners of shots, and shapes even the most casual scenes decisively.
    • 76 Metascore
    • 80 David Denby
    In all, this is a movie that is partial to youth as a state of being. The grownups seem finished, as frozen in their lifetime roles as creatures out of myth or the Bible. But Oliver and Jordana have the freedom to go anywhere, do anything, become anything. Submarine is an exhilarating surprise.
    • 76 Metascore
    • 90 David Denby
    An uproarious and touching picture.
    • 76 Metascore
    • 80 David Denby
    Spielberg must have sensed that he owed us some fun, and the movie has a sleek and carefree look -- the lightness of a sixties comedy, made with the extraordinary speed and panache of our most fluent director. This is a true holiday film, a gift from some genuine pros who know how to entertain without sweat. [23 & 30 December 2002, p. 166]
    • The New Yorker
    • 76 Metascore
    • 60 David Denby
    The movie is overwrought and unfocussed.

Top Trailers