For 626 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 4.5 points higher than other critics. (0-100 point scale)

David Denby's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Social Network
Lowest review score: 10 Dogville
Score distribution:
  1. Negative: 47 out of 626
626 movie reviews
    • 47 Metascore
    • 40 David Denby
    In the movie's best moments, the misery has a comic lilt to it. [28 Jan 2002, p. 90]
    • The New Yorker
    • 62 Metascore
    • 40 David Denby
    Bertolucci is trying hard to shock us with this stuff, but, for all the perversities and the abundant nudity, the movie has an air of inconsequence about it. [9 February 2004, p. 74]
    • The New Yorker
    • 57 Metascore
    • 40 David Denby
    One of the more high-minded and painful follies of recent years.
    • 83 Metascore
    • 40 David Denby
    A shapeless mess, but at least it’s not as monotonous as “Kill Bill Vol. 1.” [19 & 26 April 2004, p. 202]
    • The New Yorker
    • 64 Metascore
    • 40 David Denby
    Second-rate bawdiness--that is, bawdiness without the wit of Boccaccio or Shakespeare or even Tom Stoppard--is more infantile than funny, and I’m not sure that the American playwright Jeffrey Hatcher, who concocted this piece for the stage and then adapted it into a movie, is even second-rate.
    • 47 Metascore
    • 40 David Denby
    The clichéd macho silliness of the picture gets to be infuriating after a while.
    • 55 Metascore
    • 40 David Denby
    The movie is a technological and publicity triumph, and a calamity in every other way.
    • 45 Metascore
    • 40 David Denby
    Crowe is attempting a modern screwball comedy--the kind of thing that, sixty years ago, Howard Hawks, directing Gary Cooper and Barbara Stanwyck, would have turned into romantic farce--but he has scaled the movie as an epic and turned his gabby heroine into a fount of New Age wisdom.
    • 80 Metascore
    • 40 David Denby
    Unfortunately, it's also maddeningly repetitive, and dependent on the kind of strained English whimsy that leaves your throat sore from laughter that dies in the glottal region.
    • 58 Metascore
    • 40 David Denby
    What a comedown, after the weirdly beautiful things Singer and his technicians did in the first two movies.
    • 49 Metascore
    • 40 David Denby
    The picture is a kind of fattened goose that's been stuffed with goose-liver pâté. It's overrich and fundamentally unsatisfying.
    • 37 Metascore
    • 40 David Denby
    Penn gives a strenuous, at times shrewd and acid performance, which has been embedded, unfortunately, in a clumsy and ineffective movie.
    • 64 Metascore
    • 40 David Denby
    The movie is halfhearted, fragmentary, unachieved.
    • 74 Metascore
    • 40 David Denby
    Michael Moore has teased and bullied his way to some brilliant highs in his career as a political entertainer, but he scrapes bottom in his new documentary, Sicko.
    • 46 Metascore
    • 40 David Denby
    The material has been turned into a trivially narcissistic product for teen-age girls who want to feel indignant about wrongs they are unlikely to suffer.
    • 56 Metascore
    • 40 David Denby
    W.
    Richard Dreyfuss, hunching over and baring his teeth like a shark cruising off a Martha's Vineyard beach, does a wicked impersonation of Cheney. His relish for the part suggests that the movie should have been done not as an earnest bio-pic but as a satirical comedy -- as a contemporary "Dr. Strangelove," with a cast of satyrs and clowns.
    • 60 Metascore
    • 40 David Denby
    The filmmakers, I think, got in over their heads and couldn't decide whether they were making an action thriller or a drama of conscience; they wound up flubbing both.
    • 63 Metascore
    • 40 David Denby
    Even Frances McDormand, the salt-of-the-earth actress who has warmed so many of the Coen brothers movies, falls into a queasy dead zone.
    • 52 Metascore
    • 40 David Denby
    There’s a big hole in the middle of the movie: the director, Tom Tykwer, and the screenwriter, Eric Warren Singer, forgot to make their two crusaders human beings.
    • 37 Metascore
    • 40 David Denby
    Amelia is handsome yet predictable and high-minded--not a dud, exactly, but too proper, too reserved for its swaggering subject.
    • 56 Metascore
    • 40 David Denby
    A clunky and obvious comedy.
    • 55 Metascore
    • 40 David Denby
    Thoroughly derivative, and it doesn't illuminate youth crime -- it exploits it.
    • 50 Metascore
    • 40 David Denby
    Prince of Persia is meant purely as light entertainment, but the way it draws on layers of junk is depressing.
    • 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.
    • 79 Metascore
    • 40 David Denby
    Off the dance floor, however, Black Swan is trashy and incoherent. Aronofsky, for all his gifts, is a gaudy maestro, opportunistic and insecure as an artist.
    • 57 Metascore
    • 40 David Denby
    Morning Glory has a depressed, rancid air. [22 Nov. 2010, p. 141]
    • The New Yorker
    • 67 Metascore
    • 40 David Denby
    The futility of a noodling movie star is hardly a revelation of the absurdity of the human condition, or whatever this movie is supposed to be about. [20 & 27 Dec. 2010, p. 146]
    • The New Yorker
    • 39 Metascore
    • 40 David Denby
    The Green Hornet is what you get when someone who dropped out of high school to do standup comedy, then spent a decade in movies and television, conceives a Hollywood "passion project." [24 Jan. 2011, p. 82]
    • The New Yorker
    • 50 Metascore
    • 40 David Denby
    May have been written by a young woman, but it feels like a middle-aged man's fantasies about young people. The dialogue is actually - to retrieve an old word - vulgar. [7 Feb. 2011, p. 82]
    • The New Yorker
    • 60 Metascore
    • 40 David Denby
    As director, Foster, working with Kyle Killen's screenplay, treats the goofy premise with a literal earnestness-as a family drama about separation and reunion-that seems all wrong. A little wit would have helped.

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