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

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Casablanca
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 628
628 movie reviews
    • 54 Metascore
    • 50 David Denby
    Somehow the movie that Rob Marshall has made from Golden's novel is a snooze. How did he and the screenwriter, Robin Swicord, let their subject get away from them?
    • 70 Metascore
    • 70 David Denby
    Robert Altman, in a benevolent mood, has made a lovely ensemble comedy from Anne Rapp's original screenplay.
    • 57 Metascore
    • 70 David Denby
    The movie is smart and tightly drawn; it has a throat-gripping urgency and some serious insights, and Scott has a greater command of space and a more explicit way with violence than most thriller directors.
    • 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.
    • 62 Metascore
    • 80 David Denby
    A raffishly ironic and insinuating movie--and probably the most sheerly enjoyable film of the year so far.
    • 81 Metascore
    • 80 David Denby
    Fish tank may begin as a patch of lower-class chaos, but it turns into a commanding, emotionally satisfying movie, comparable to such youth-in-trouble classics as "The 400 Blows." [18 Jan. 2010, p. 83]
    • The New Yorker
    • 65 Metascore
    • 80 David Denby
    The movie’s story is conventional in shape, but it has passages of crazy exhilaration and brilliant invention.
    • 65 Metascore
    • 60 David Denby
    The Matador teeters between comedy and moral inquiry but doesn't quite make it either way. The movie features a startling performance, however, by Pierce Brosnan.
    • 57 Metascore
    • 40 David Denby
    The movie that Josée Dayan has made about the Duras-Andréa affair is not a scandal. Unfortunately, it’s not much of anything but a solemn joke. [14 April 2003, p.88]
    • The New Yorker
    • 69 Metascore
    • 40 David Denby
    Never Let Me Go is in such good taste that we never feel any horror over the idea at the center of it.
    • 69 Metascore
    • 90 David Denby
    An enormously enjoyable hybrid, a romantic comedy set at the center of a caper movie. But the froth arrives with steel bubbles--the tone is amused and mordantly satirical.
    • 74 Metascore
    • 80 David Denby
    Revved by the stage performances, the cast courses through the material with disciplined exuberance--especially the eight young actors at the center of the drama, many of whom have never appeared in a film before.
    • 80 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
    • 47 Metascore
    • 30 David Denby
    A classic case of Hollywood hypocrisy and ineptitude.
    • 57 Metascore
    • 40 David Denby
    One of the more high-minded and painful follies of recent years.
    • 73 Metascore
    • 70 David Denby
    A lyrical throwback to such movies as René Clément's "Forbidden Games" (1952) and other works of the humanist European cinema of a half century ago. [12 April 2003, p. 89]
    • The New Yorker

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