For 380 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 39 out of 380
380 movie reviews
    • 52 Metascore
    • 38 Glenn Kenny
    For the most part, Murphy is pitching somewhere between "American Beauty" and "The Royal Tenenbaums"; indeed, the characters Bening and Gwyneth Paltrow play in Scissors are, in a sense, inversions of their roles in Beauty and Tenenbaums, respectively.
    • 34 Metascore
    • 38 Glenn Kenny
    Too slack to do much harrowing and falls back on some very raggedy commonplaces at the points when it should be delivering knockout scares.
    • 32 Metascore
    • 38 Glenn Kenny
    As a fan of the genre, and someone who genuinely loves such recent horror efforts as "The Descent" and "The Host," I respectfully suggest that the atmosphere for horror movies might be better if moviemakers stopped making ones like this.
    • 37 Metascore
    • 38 Glenn Kenny
    For adults -- even adults with fond memories of the TV series -- this is one bizarre mess.
    • 45 Metascore
    • 38 Glenn Kenny
    The problem is the material itself, with its trite observations and shockingly flat writing.
    • 45 Metascore
    • 38 Glenn Kenny
    Noisome, fragmented mess of a movie, the fourth film based on Jack Finney's novel "The Body Snatchers" and the worst of them all.
    • 36 Metascore
    • 38 Glenn Kenny
    Wan wants to have something both ways, and in the end, he gets almost nothing. As Clint Eastwood said in yet another genre picture: A man’s gotta know his limitations.
    • 49 Metascore
    • 38 Glenn Kenny
    This is a perhaps even more misbegotten remake than the Farrelly Brothers' update of "The Heartbreak Kid."
    • 57 Metascore
    • 38 Glenn Kenny
    Lichtenstein's putative switcheroo on the Vagina Dentata trope is to play it as some kind of token of female empowerment, but it's pretty clear that the writer/director didn't think things through on any counts, contenting himself that the putative outrageousness of the concept could see him through.
    • 44 Metascore
    • 38 Glenn Kenny
    There's a lot of "stuff" here, and Kelly's biggest problem -- he's got more than a few -- is that he can't tell his good material from his bad.
    • 36 Metascore
    • 38 Glenn Kenny
    A tediously noisesome English-language remake of an Asian horror picture that wasn't any great shakes to begin with.
    • 35 Metascore
    • 38 Glenn Kenny
    These site-shifting extravaganzas sometimes reach an exhilarating level of near-abstraction. So it's too bad that just about everything surrounding the action scenes of the picture is such unmitigated cr--.
    • 50 Metascore
    • 38 Glenn Kenny
    The reason for all this dull-to-offensive story stuff is, of course, the dancing, which has its moments but overall seems so calculated to impress that it loses all other reason for being.
    • 48 Metascore
    • 38 Glenn Kenny
    The heretofore nothing-but-delightful Simon Pegg stumbles in the long-anticipated feature film directorial debut of -- ta-da! -- David Schwimmer, who takes the sow's ear of a script given him by Pegg and Michael Ian Black and deep-fries it into a burnt pork rind of a movie.
    • 38 Metascore
    • 38 Glenn Kenny
    While "House of Sand and Fog" remained (somewhat precariously) balanced on the knife-edge that can turn tragedy into bathos, this picture doesn't fare nearly as well, and begins weighing down the viewer with its putative significance only minutes after its opening credits.
    • 47 Metascore
    • 38 Glenn Kenny
    Paltrow, whose previous directorial feature was the somewhat more apt 2007 showbiz romcom “The Good Night,” is an attentive student of cinema, as his mini-homages to the likes of Antonioni and Lucas in this story testify. But his story is a veritable nothingburger, here and there recalling notes from the likes of “Giant” and “There Will Be Blood,” but never really connecting on levels emotional or intellectual.
    • 56 Metascore
    • 38 Glenn Kenny
    Little Accidents is quietly earnest, handsomely produced, and too dramatically inert and dogged by the commonplace to make much of an impact beyond conveying the dreariness (as opposed to the dread) of life in a coal-mining town.
    • 24 Metascore
    • 38 Glenn Kenny
    Strange Magic is essentially a jukebox musical so song-laden as to practically be an operetta, and the songs are so eclectic that they never quite fit into the movie’s flying-insect world, which is divided into dark and light forests.
    • 50 Metascore
    • 38 Glenn Kenny
    If this mess is what they ended up with after erring with the best intentions, I feel bad for them. If this is actually the end result they were going for, I’d be inclined to use the legal system myself, to file an injunction against them ever getting near a soundstage again.
    • 53 Metascore
    • 25 Glenn Kenny
    Smushes together “The Bonfire of the Vanities” (the novel, that is), “True Believer,” and “Eyes Wide Shut,” only it does so without being nearly as good as any of the aforementioned.
    • 46 Metascore
    • 25 Glenn Kenny
    The potential for real offense is palpable, but Bruce Almighty never gets there; the script is too lazy and incoherent--truly effective blasphemy takes brains and rigor.
    • 47 Metascore
    • 25 Glenn Kenny
    From my perspective, the film's anti-Semitism is implicit rather than programmatic, and, in the film's current form, a little sneaky.
    • 44 Metascore
    • 25 Glenn Kenny
    As bad movies go, The Jacket belongs to a relatively rare but extremely intriguing/irritating genus.
    • 53 Metascore
    • 25 Glenn Kenny
    Weinstein Co. honchos Bob and Harvey are chasing some of the old "Pulp Fiction" magic--and failing not only miserably, but kind of disgustingly.
    • 25 Metascore
    • 25 Glenn Kenny
    And so it goes, leaving an awful taste and the inevitable question: Jane Fonda made a comeback to do dreck like this and "Monster-in-Law?"
    • 24 Metascore
    • 25 Glenn Kenny
    Thoroughly irritating little film.
    • 56 Metascore
    • 25 Glenn Kenny
    Director Julie Taymor's gargantuan all-Beatles-songs musical is that rarest of animals, the perfect disaster that fulfills expectations by defying them.
    • 56 Metascore
    • 25 Glenn Kenny
    Its climactic highway shootout, and much else in the picture, is rendered in the best Paul Greengrass manner that Hollywood money can buy. But where Greengrass pictures aim to keep one on the edge of one's seat throughout, the tension here, such as it is, is designed to stoke audience bloodlust. If that's your kind of thing, The Kingdom certainly satisfies.
    • 43 Metascore
    • 25 Glenn Kenny
    The earnestness brings the movie from mildly irritating pastiche status to actively awful, and that is all she wrote.
    • 21 Metascore
    • 25 Glenn Kenny
    Once you’ve sunk into the entirely warped groove of Reach Me you’re almost eager to experience the next offense against aesthetics and/or common sense it is poised to commit. And make no mistake: this is a movie that keeps on delivering, and for 95 solid minutes.
    • 74 Metascore
    • 25 Glenn Kenny
    Willfully over determined and perversely stylized.
    • 33 Metascore
    • 25 Glenn Kenny
    Aside from providing an object lesson in how Chinese film financing forces some rather remarkable storyline convolutions into generic international action pictures, Outcast provides nothing of interest.
    • 19 Metascore
    • 25 Glenn Kenny
    The scenic cinematography by Ben Nott is often beautiful, which distracts, at times, from the fact that the storyline is both convoluted in the most gratuitous way possible and that it’s enacted in the most unengaging way imaginable.
    • 52 Metascore
    • 25 Glenn Kenny
    Eventually, the fact that the characters are all aware of the multiple clichés they’re uttering — an exchange between Brian and a young editor (Olivia Thirlby) is particularly excruciating in this respect — doesn’t redeem or excuse the clichés.
    • 30 Metascore
    • 25 Glenn Kenny
    One is apt to mourn the time wasted not just by the movie’s living participants, but also by the VW bug. All participants could have gotten up to something far more enjoyable.
    • 48 Metascore
    • 12 Glenn Kenny
    As for me, watching this overripe, ignorant parading of Hollywood privilege an hubris put me in mind of a different song--Neil Young's "Revolution Blues." Specifically the bit about Laurel Canyon being filled with famous stars . . .
    • 16 Metascore
    • 0 Glenn Kenny
    I can’t say I was too surprised by how risible, grotesque, and incoherent I Know Who Killed Me is. But I can’t say I was prepared for its pretentiousness. If the picture has any use at all, it’s as a case study in what happens when the talentless attempt to emulate the inspired.
    • 19 Metascore
    • 0 Glenn Kenny
    If raunch-comedy maestro Judd Apatow had not just an evil, but an evil-and-untalented twin, this grotesque excrescence would be his signature work.
    • 32 Metascore
    • 0 Glenn Kenny
    Visually ugly, morally non-existent and a complete black hole in the departments of insight and wit, Chapter 27 is quite possibly the most godawful, irredeemable film to yet emerge in the 21st century.

Top Trailers