For 592 reviews, this critic has graded:
  • 46% higher than the average critic
  • 1% same as the average critic
  • 53% 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
Average review score: 65
Highest review score: 100 Blood Diamond
Lowest review score: 10 Wild Wild West
Score distribution:
  1. Negative: 47 out of 592
592 movie reviews
    • 58 Metascore
    • 50 David Denby
    The audience decided to sell Snakes to itself, and that became the event--the actual movie could never have been more than another exploitation picture.
    • 47 Metascore
    • 50 David Denby
    Even judged by the not excessively demanding standards of middle-aged renovation fantasies, A Good Year isn’t much.
    • 50 Metascore
    • 50 David Denby
    Wilson and the director, Steven Shainberg, draw on Arbus's family and on many elements from her life and her art, only to turn the material into feeble nonsense.
    • 54 Metascore
    • 50 David Denby
    Estevez has made a vague gesture at a large, metaphoric structure without having the dramatic means to achieve it. His choreography of the panic and misery in the hotel after the shooting is impressive, and some of the actors do fine in their brief roles. But his script never rises above earnest banality, and we are constantly being taught little lessons in tolerance and humanity:
    • 59 Metascore
    • 50 David Denby
    In brief, I fell cheated by these clever, narrative-disrupting films. They seem to miss the point. After all, every fiction film is magical--an artifice devoted to “What if?”
    • 45 Metascore
    • 50 David Denby
    It's a peculiar movie, frantic and useless, with a hyperactive camera that gives us no more than fleeting impressions of Edie ecstatic at parties, Edie strung out on drugs, Edie lying mostly naked on a bed, with her skin splotchy from injections.
    • 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.
    • 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.
    • 53 Metascore
    • 50 David Denby
    A virtual textbook of action clichés.
    • 49 Metascore
    • 50 David Denby
    At key moments, Lucky You loses its nerve.
    • 62 Metascore
    • 50 David Denby
    Soderbergh ends the movie with a few jokes, which is casual and neat but leaves you wondering whether the practice of making enormous movies about nothing isn't a little mad.
    • 45 Metascore
    • 50 David Denby
    This is one of the rare movies that are too sensitive for their own good.
    • 66 Metascore
    • 50 David Denby
    The characters observe no boundaries, and neither does the movie--Baumbach hasn’t worked out the struggle between speaking and withholding, as Bergman did. People simply blurt out scathing remarks, so there’s little power in the revelations and betrayals. “Margot” is sensually as well as dramatically impoverished.
    • 61 Metascore
    • 50 David Denby
    The movie’s heart is certainly in the right place--it’s a quietly outraged work--but I wish there were more excitement in it from moment to moment.
    • 42 Metascore
    • 50 David Denby
    The Bucket List will quickly be kicked into oblivion, but, at a lifetime-achievement-award ceremony, Nicholson’s tempest will fit nicely into a montage of Crazy Jack moments.
    • 63 Metascore
    • 50 David Denby
    Walk Hard runs down quickly, and suffers further from having the wide-eyed and weightless Reilly as its star.
    • 65 Metascore
    • 50 David Denby
    Crystal Skull isn't bad--there are a few dazzling sequences, and a couple of good performances--but the unprecedented blend of comedy and action that made the movies so much more fun than any other adventure series is mostly gone.
    • 56 Metascore
    • 50 David Denby
    Kevin Smith turns out to be reverent after all: he wants to separate true love from mere copulating for money, but his story mixes romance and porn so inextricably that he seems confused, and the movie trips over its own conceits.
    • 62 Metascore
    • 50 David Denby
    The movie's conceits are just barely endurable, but the sharpness of Dörrie's eye--for Tokyo's electric night, for Fuji's iconographic landscapes, for cherry blossoms--sustains emotion even when story logic fails.
    • 60 Metascore
    • 50 David Denby
    The movie leaves us with the sense that, twelve years after Biggie Smalls's death, a lot of people are trying to extract whatever profit or pride they can from the chaotic life of a young man who was, as he well knew, a work in progress.
    • 61 Metascore
    • 50 David Denby
    It’s a sad movie--funny, yet wounded and bewildered.
    • 33 Metascore
    • 50 David Denby
    This disposable date movie is not so much written and acted as cast—just about every young actor in the country is in it.
    • 69 Metascore
    • 50 David Denby
    The movie holds one in its surly grip, but when it's over, few people, I think, are likely to be haunted by it. Futility may work as a mood in a short story, but in a full-scale movie it doesn't bear looking at for very long. (29 Oct 2001, p. 92)
    • 53 Metascore
    • 50 David Denby
    The filmmakers peddle fear and then try to claim the moral high ground; the treatment is foolish, confused, and borderline irresponsible.
    • 59 Metascore
    • 50 David Denby
    Elegant nonsense. For some years, it's been clear that De Palma's work has lost the jolting intellectual energy and wit of his "Carrie" and "Dressed to Kill" days, and in Femme Fatale the Master is just diddling. [25 November 2002, p. 108]
    • 55 Metascore
    • 50 David Denby
    Apart from Blanchett's performance, Veronica Guerin is not very interesting. The movie offers a brainless Hollywood version of investigative journalism. [10 November 2003, p. 129]
    • 43 Metascore
    • 50 David Denby
    The latest minimalist provocation from the infuriating but talented French director Bruno Dumont. [12 April 2004, p. 89]
    • 59 Metascore
    • 50 David Denby
    LaBute's didactic purpose kills any possibility of frivolous entertainment. [19 May 2003, p. 94]
    • 71 Metascore
    • 50 David Denby
    The ineluctable downward pull of absolutely everything in this movie is more exasperating than moving. [12 January 2004, p. 86]
    • 65 Metascore
    • 50 David Denby
    Yet as art this revisionist movie, grimly effective as some of it is, doesn't hold a candle to the remarkable cycle of pictures in the late seventies and the eighties which captured the discordant character of a tragic war. [11 Mar 2002, p. 92]