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
    • 68 Metascore
    • 80 David Denby
    This documentary film, about the deconstruction of a great American city, is surprisingly lyrical and often very moving.
    • 74 Metascore
    • 80 David Denby
    Source Code is a formally disciplined work -- a triumph of movie syntax -- made with rhythm and pace. Jones, unlike most commercial directors, accelerates the tempo without producing visual gibberish. [11 April, 2011 p. 88]
    • The New Yorker
    • 75 Metascore
    • 80 David Denby
    They also try to one-up each other as men, vying for professional success and for the attention of the invariably lovely women they meet. Sharks have duller teeth than Coogan and Brydon. Both movies, in fact, are about the impossibility — and the necessity — of male friendship.
    • 87 Metascore
    • 80 David Denby
    A deeply satisfying aesthetic and pedagogic experience--though Americans may find themselves wondering how such terrific children can grow into such irritating adults.
    • The New Yorker
    • 73 Metascore
    • 80 David Denby
    Part thriller, part character study, Arbitrage is Nicholas Jarecki's first feature, and it moves swiftly and confidently, with many details that feel exactly right. [24 Sept. 2012, p.98]
    • The New Yorker
    • 68 Metascore
    • 80 David Denby
    Ayer should have dropped the movie-within-a-movie, which is confusing in an unproductive way -- we share the men's point of view without it. [24 Sept. 2012, p. 98]
    • The New Yorker
    • 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
    • 72 Metascore
    • 80 David Denby
    Watergate has never really gone away for those of us who lived through it, and, in Penny Lane's Our Nixon, a shrewdly edited collection of news footage and "home movies" taken by members of the Nixon White House staff, there they are again, our familiars. [9 Sept.2013, p.91]
    • The New Yorker
    • 72 Metascore
    • 80 David Denby
    After we’ve heard three or four versions of the joke, the words no longer shock. They describe not acts but fantasies, and the movie becomes a celebration of the infinite varieties of comic style.
    • 73 Metascore
    • 80 David Denby
    The 40-Year-Old-Virgin is a hit, I would warrant, because it’s truly dirty and truly romantic at the same time, a combination that's very hard to pull off.
    • 81 Metascore
    • 80 David Denby
    The movie is simultaneously a police procedural, an analysis of language and imagery, a philosophical debate about law and justice, and a very, very dry Romanian Martini--so dry that, at first, one doesn't quite taste much of anything.
    • 72 Metascore
    • 80 David Denby
    Antal has concocted a phantasmagoria-outlandish and jumpy-but, at the same time, the movie is three-dimensional and weighted, with a melancholy soulfulness that becomes surprisingly touching.
    • 73 Metascore
    • 80 David Denby
    Ray
    Vibrantly intelligent and tough-minded bio-pic.
    • 85 Metascore
    • 80 David Denby
    Bellocchio gets the opera-buffa and the carnival side of Italian Fascism, and parts of the movie are excruciatingly funny.
    • 68 Metascore
    • 80 David Denby
    Observant and true. The pleasure of it lies not in its emotions, which are distinctly on the tepid side, but in the intimacy of its reporting. [28 July 2003, p.94]
    • The New Yorker
    • 79 Metascore
    • 80 David Denby
    Combines pulse-of-the-city drama and comedy with an elaborate revenge plot, but mostly the movie is about New Yorkers talking.
    • The New Yorker
    • 79 Metascore
    • 80 David Denby
    A tender, indignant, but also very worldly movie.
    • 85 Metascore
    • 80 David Denby
    Vital, honest, and engaging.
    • 72 Metascore
    • 80 David Denby
    The movie was not written for Eastwood, but it still seems to be all about him--his past characters, his myth, his old role as a dispenser of raw justice.
    • 72 Metascore
    • 80 David Denby
    When he follows his nose -- say, by tracing his own connections to Eric Harris, one of the Columbine shooters -- he implicates himself in what he hates and fears, and he emerges as a wounded patriot searching for a small measure of clarity. [28 October 2002, p. 119]
    • The New Yorker
    • 68 Metascore
    • 80 David Denby
    The movie is exhilarating in a way that only hard-won knowledge of the world can be.
    • 83 Metascore
    • 80 David Denby
    The trouble with experimental comedies is that it's often impossible to figure out how to end them. But at least this one is intricate fun before it blows itself up. [9 December 2002, p. 142]
    • The New Yorker
    • 82 Metascore
    • 80 David Denby
    For the battered American independent cinema, Linklater's movie is the highest form of life seen in the last couple of years. [12 Nov 2001, p. 138]
    • The New Yorker
    • 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.
    • 69 Metascore
    • 80 David Denby
    It feels fresh, almost improvised, mainly because Mills doesn’t drive his scenes toward an obvious resolution.
    • 85 Metascore
    • 80 David Denby
    One might call Neil Young: Heart of Gold soothing, even becalmed, but mellowness and ripeness, when they exist at this high level of craft, should have their season, too.
    • 63 Metascore
    • 80 David Denby
    As this matron on the loose, Allen is rancorously funny.
    • 75 Metascore
    • 80 David Denby
    Audiard's work is tense, vivid, and alert, and he's got the right actor as Tom, an irresistibly attractive guy who's pushing thirty yet has no more control over his impulses than a chaotic boy.
    • 71 Metascore
    • 80 David Denby
    Red Eye, which is exactly eighty-five minutes long, has been made with classical technique and bravura skill, and it's leaving moviegoers in a rare state of satisfaction.
    • 86 Metascore
    • 80 David Denby
    Not one of Scorsese's greatest films; it doesn't use the camera to reveal the psychological and aesthetic dimensions of an entire world, as "Mean Streets," "Taxi Driver," "Raging Bull," and "Goodfellas" did. But it's a viciously merry, violent, high-wattage entertainment, and speech is the most brazenly flamboyant element in it.

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