For 610 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: 65
Highest review score: 100 Crash
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 610
610 movie reviews
    • 31 Metascore
    • 20 David Denby
    One of those hyper-articulate messes which inspire awe and a kind of nauseated pity. [3 March 2003, p. 94]
    • The New Yorker
    • 25 Metascore
    • 20 David Denby
    This shameless piece of sentimentality is indignantly on the side of feelings and spontaneity and against coldhearted technique, as if those were the only two choices in training doctors.
    • 31 Metascore
    • 20 David Denby
    The self-confident fatuity and condescension of the movie is offensive.
    • 53 Metascore
    • 20 David Denby
    The Book of Eli combines the maximum in hollow piety with remorseless violence. [18 Jan. 2010, p.82]
    • The New Yorker
    • 57 Metascore
    • 20 David Denby
    The plot becomes disastrously condescending: the black man, who's crude, sexy, and a great dancer, liberates the frozen white man. The handsome Omar Sy jumps all over the place, and he's blunt and grating. Francois Cluzet acts with his eyebrows, his nose, his forehead. It's an admirable performance, but the movie is an embarrassment. [28 May 2012, p.78]
    • The New Yorker
    • 40 Metascore
    • 20 David Denby
    The story, devised by David Benioff and Skip Woods, is largely meaningless, and the emotions are no more than functional—they set up the next fight.
    • 38 Metascore
    • 10 David Denby
    The movie is exhausting, utterly without feeling, and pointless -- though Smith looks great in his Western outfit.
    • 35 Metascore
    • 10 David Denby
    In the end, Dreamcatcher is an abominable-worm picture. The movie is also an unholy mess, a miserably organized and redundant collection of arbitrary scares and thrills without a unifying visual or poetic idea. [31 March 2003, p. 106]
    • The New Yorker
    • 59 Metascore
    • 10 David Denby
    What Lars von Trier has achieved is avant-gardism for idiots. From beginning to end, Dogville is obtuse and dislikable, a whimsical joke wearing cement shoes. [29 March 2004, p. 103]
    • The New Yorker
    • 36 Metascore
    • 10 David Denby
    Has so many things wrong with it that one can only stare at the screen in disbelief. [25 April, 2011 p. 89]
    • The New Yorker