For 378 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 12 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Chapter 27
Score distribution:
  1. Negative: 39 out of 378
378 movie reviews
    • 71 Metascore
    • 100 Glenn Kenny
    Black Book is Verhoeven's best film since "RoboCop": audacious, smart, shamelessly entertaining.
    • 84 Metascore
    • 100 Glenn Kenny
    Perhaps the greatest, most affecting articulation of the theme Eastwood has been exploring since 1990's "White Hunter Black Heart": how violence--real violence, not movie violence--perpetrated and experienced, can erode and/or obliterate the human soul.
    • 51 Metascore
    • 100 Glenn Kenny
    As it happens, each one of these tales is also a love story, and The Fountain is Aronofsky’s profession of faith concerning love’s place in the idea of eternity. It’s a movie that’s as deeply felt as it is imagined.
    • 94 Metascore
    • 100 Glenn Kenny
    Every performance here is wonderful, and the movie abounds in moments so true as to be cringe-worthy.
    • 77 Metascore
    • 100 Glenn Kenny
    Resnais employs all the tools of studio-bound moviemaking, silent-era to post-modern, in a way that is not only is consistently dazzling in a purely visual sense, but contains an empathy that lifts the picture to tragic heights even at those points at which it seems practically weightless.
    • 67 Metascore
    • 100 Glenn Kenny
    Depp and Winslet in particular are, as you might expect, immaculate. I don't think there's another actor alive who can convey the intermingling of gentleness and passion with as much precision as Depp.
    • 70 Metascore
    • 100 Glenn Kenny
    Everything in Life of Riley, Resnais makes plain, is a contrivance. Much of the joy and beauty of the movie comes from letting the levels of contrivance fall into place, as with some Rube Goldberg contraption, creating a parallel abstract narrative to the more conventional semi-farcical one unfolding on screen.
    • 87 Metascore
    • 100 Glenn Kenny
    Herzog not only tells an incredible story but implies a dark metaphysic of the natural world that makes this film unsettlingly larger than its human subject.
    • 55 Metascore
    • 100 Glenn Kenny
    The result is by far the most original comedy of the year. Russell might alienate some audience members here--but it’s possible they literally won't know what they're missing.
    • 86 Metascore
    • 100 Glenn Kenny
    A triumphant revisiting of territory in which Scorsese is an unchallenged master -- the crime drama.
    • 64 Metascore
    • 100 Glenn Kenny
    It's flat-out comedy all the way, head-spinningly clever (you'll be talking about a sequence set in the Louvre for weeks) and always engaging. For my money, it's the comedy of the year.
    • 90 Metascore
    • 100 Glenn Kenny
    Yep, this movie is basically a yakfest, but an incredibly fluid and involving one, and if you have any kind of affinity for either of the characters, you’re bound to find the picture a kind of miracle.
    • 76 Metascore
    • 100 Glenn Kenny
    Has a warmth that’s utterly enchanting, and a tenderness that’s genuinely touching. This is a real gem.
    • 87 Metascore
    • 100 Glenn Kenny
    This movie struck me as both Ceylan’s plainest, and perhaps his finest.
    • 62 Metascore
    • 100 Glenn Kenny
    The thrills of this movie are aesthetic ones, the creation of new, ravishing imagery (and all three of our young heroes are beautiful enough to be up to this task), the surrender to dream logic, the adoration of the silver screen.
    • 83 Metascore
    • 100 Glenn Kenny
    This is a movie of head-spinning richness.
    • 73 Metascore
    • 100 Glenn Kenny
    Over the course of almost two and a half fascinating hours, they make a cogent, compelling, powerful argument, and they also make a terrific movie.
    • 81 Metascore
    • 100 Glenn Kenny
    Almodóvar has created a dense, audacious film in which layers of cinematic artifice lovingly camouflage (at least for a while) its characters’ dark, damaged heart.
    • 64 Metascore
    • 100 Glenn Kenny
    Olivier Assayas latest effort could be mistaken for a hipper-than-thou thriller. But it isn’t--it’s in fact a difficult, challenging, and troubling art film. [October 2003, p. 19]
    • Premiere
    • 76 Metascore
    • 100 Glenn Kenny
    Demme here shows off both the mastery of suspense that made "The Silence of the Lambs" a classic, and the humane understanding and appreciation of character that not just deepens but energizes this film.
    • 84 Metascore
    • 100 Glenn Kenny
    Hero is one of the most beautiful and involving films of the year.
    • 59 Metascore
    • 100 Glenn Kenny
    It really is a masterpiece--von Trier's first, as it happens.
    • 94 Metascore
    • 100 Glenn Kenny
    A phantasmagorical slab of epic entertainment that satisfies on every conceivable level.
    • 73 Metascore
    • 100 Glenn Kenny
    The most impressive thing about the film's technical wizardry is, finally, how unimpressive it is. One doesn't leave the movie with a mind blown by visual bedazzlement but with a soul shattered by the profound sense of tragedy Linklater and company so beautifully put across.
    • 74 Metascore
    • 100 Glenn Kenny
    This lengthy, nuance-filled story about how eye-for-an-eye stuff differs from theory to practice is one of the most considered, thoughtful, and involving movies of its kind.
    • 75 Metascore
    • 100 Glenn Kenny
    A superb effort by a first-rank director, and manna from heaven for Cheung fans.
    • 82 Metascore
    • 100 Glenn Kenny
    It's a rare film that can be convincingly tender, bitterly funny, and ruthlessly cutting over the course of fewer than 90 minutes. The Squid and the Whale not only manages this, it also contains moments that sock you with all three qualities at the same time.
    • 87 Metascore
    • 100 Glenn Kenny
    This is more than just the best animated comedy of the year--it's the best comedy of the year, period.
    • 58 Metascore
    • 100 Glenn Kenny
    Big Fish really is a big delight.
    • 89 Metascore
    • 100 Glenn Kenny
    A wildly imaginative, hugely entertaining tour de force that asks big questions about life and love and fate while never ceasing to fully engage the viewer.
    • 92 Metascore
    • 100 Glenn Kenny
    Every performer in the international cast -- Seigner, de Bankole, von Sydow (magnificent as Bauby's father), and the late Jean-Pierre Cassel to name but a few -- completely disappears into each of their roles, which I think is as much a testament to Schnabel's talents as to theirs.
    • 90 Metascore
    • 100 Glenn Kenny
    I don't think we're going to see a better--a funnier or more genuinely heartwarming, for that matter--comedy this year.
    • 91 Metascore
    • 100 Glenn Kenny
    As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
    • 87 Metascore
    • 100 Glenn Kenny
    A fantastical examination of man’s inhumanity to man, and as replete as it is with persistent visceral disgust, it also pulses with intelligence, a mordant compassion, and yes, incredible wit.
    • 59 Metascore
    • 100 Glenn Kenny
    Playful, poetic, shocking, saddening, and ultimately gratifyingly and honestly big-hearted.
    • 62 Metascore
    • 100 Glenn Kenny
    A compelling, rousing and at times strangely moving entertainment.
    • 74 Metascore
    • 100 Glenn Kenny
    The first masterpiece of 2008 -- at least by American release date standards -- the latest film from master French director Jacques Rivette is a masterful, multilayered, sometimes enigmatic work of dark irony, an assured tragicomedy of manners and more.
    • 89 Metascore
    • 100 Glenn Kenny
    The Tale of Princess Kaguya is both very simple and head-spinningly confounding, a thing of endless visual beauty that seems to partake in a kind of pictorial minimalism but finds staggering possibilities for beautiful variation within its ineluctable modality. It’s a true work of art.
    • 83 Metascore
    • 100 Glenn Kenny
    The result is one of the odder and, certainly the most compelling of the short stream of Broadway-to-Hollywood transplants of recent years. The interweaving of the music and the visuals casts an unusual, restive spell of delight and unease.
    • 89 Metascore
    • 100 Glenn Kenny
    This is one of the year's most subtly moving films, and a strong affirmation of Coppola's substantial talent.
    • 86 Metascore
    • 100 Glenn Kenny
    A remarkably appealing success story full of heart and humor and poignancy, with Swank as winning as she’s ever been.
    • 90 Metascore
    • 100 Glenn Kenny
    While avoiding specious bromides about universality, Persepolis insists on communicating with its audience, and insists that communication and empathy are the keys to our survival.
    • 99 Metascore
    • 100 Glenn Kenny
    Composed of relatively few events and scenes, it's often excruciatingly tense and never less than heartbreakingly human. And as much as I admire "Munich," Shadows leaves Spielberg's film in the dust in the moral-ambiguity department. Never before seen in the States, it's already on my year's ten-best list. (April 2006 Premiere)
    • Premiere
    • 62 Metascore
    • 100 Glenn Kenny
    Aquatic maintains its buoyancy throughout.
    • 94 Metascore
    • 100 Glenn Kenny
    Burnett creates an insistently poetic, devastatingly ironic world and work.
    • 69 Metascore
    • 100 Glenn Kenny
    Although this installment is a beautiful stand-alone thang (check out how its chronology-juggling storyline creates a perfect circle, structure-wise).
    • 70 Metascore
    • 100 Glenn Kenny
    I haven't been crazy about a lot of Van Sant's recent work, but what he does here is simply astonishing. [November 2003, p. 25]
    • Premiere
    • 80 Metascore
    • 100 Glenn Kenny
    The plot is pretty convoluted, but Miyazaki has a very good handle on it and lavishes his customary heart, humor, and inventiveness on every situation he depicts.
    • 92 Metascore
    • 100 Glenn Kenny
    There Will Be Blood is, in fact, not a historical saga; rather, it's an absurdist, blackly comic horror film with a very idiosyncratic satanic figure at its core.
    • 66 Metascore
    • 100 Glenn Kenny
    A giddy kick-out-the-jams entertainment. Diary takes a tack that's not exactly new, but is new to Romero, and as one might expect, the director brings a sharp and uncompromising new perspective to it.
    • 82 Metascore
    • 100 Glenn Kenny
    One of Cronenberg's subtlest, most insinuating pictures, and one of the highlights of the year so far.
    • 86 Metascore
    • 100 Glenn Kenny
    This is not a children's picture, although it touches on the imaginative powers and emotional resilience of children. It's another slice of Hou's distinctly poetic realism, and as such, also a kind of tribute to Paris -- the Paris of both today and of the older film.
    • 91 Metascore
    • 100 Glenn Kenny
    A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, Timbuktu is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.
    • 57 Metascore
    • 100 Glenn Kenny
    Provocative, quietly erotic, deeply romantic, and slyly witty (a cameo by a giant of punk rock is funny at first sight, and funnier still when you figure out the joke it's making), Code 46 is a very effective antidote to summer blockbuster bloat.
    • 87 Metascore
    • 100 Glenn Kenny
    For all its seeming simplicity, this is an emotionally and intellectually complex film that holds the viewer in a grip as tight as any classic thriller you can name.
    • 67 Metascore
    • 100 Glenn Kenny
    A picture that certain Brits and connoisseurs of British colloquial English might call "a grower" … more moving and funny the more I think about it.
    • 54 Metascore
    • 100 Glenn Kenny
    It's the stuff of not quite dreams, and it's rendered with such accuracy and hilarity that I am tempted to call Aqua Teen Hunger Force Colon Movie Film For Theaters the most successful full-on surrealist film since Bunuel and Dali's 1930 "L'Age d'Or."
    • 89 Metascore
    • 100 Glenn Kenny
    Like the Maysles brothers, like Shirley Clarke, like D.A. Pennebaker at his heights, Wiseman has created a body of work that proves him a great filmmaker, period. His latest picture, National Gallery, is a typically lucid, graceful and unobtrusively multi-tiered work.
    • 98 Metascore
    • 100 Glenn Kenny
    This intense film, a mix of horror, fantasy, and history that convinces on all those levels and mixes them up with dizzying brio, is a searing cinematic experience, a beautiful, terrifying vision from writer-director Guillermo del Toro.
    • 90 Metascore
    • 100 Glenn Kenny
    One of the funniest, smartest, most moving pictures of the year.
    • 87 Metascore
    • 100 Glenn Kenny
    Lee and company handle the particulars of the tale with the requisite meticulousness and exquisite taste that marks all the director's films.
    • 96 Metascore
    • 100 Glenn Kenny
    The slapstick-comic set pieces involving Remy and Linguini's cooking struggles might solicit the admiration of Buster Keaton and Jacques Tati.
    • 78 Metascore
    • 100 Glenn Kenny
    It's also that he's really, honest-to-God, got one of those movie faces that doesn't even come along once every generation. It's astonishing.
    • 97 Metascore
    • 100 Glenn Kenny
    A remarkably engrossing and thoughtful picture, beautifully rendered in an artful mode of realism.
    • 78 Metascore
    • 100 Glenn Kenny
    I'm glad that 2046 is different from "Mood" even while being strangely of a piece with it. Like "Mood," it’s a movie of utter wonder and ravishment. But the key here is different.
    • 71 Metascore
    • 88 Glenn Kenny
    The result is a kind of very faux documentary style, which, along with the subject matter, has suggested to some the influence of the BBC television series "The Office." Von Trier says he's never seen an episode, and I believe him.
    • 80 Metascore
    • 88 Glenn Kenny
    If this is in fact merely a longer Simpsons episode, it's a damn good Simpsons episode.
    • 61 Metascore
    • 88 Glenn Kenny
    It’s a 21st-century version of "The Sting" for these so far rather unkind and ungentle times.
    • 65 Metascore
    • 88 Glenn Kenny
    The movie belongs to Wood, who creates a unique portrait of a girl hesitating at the threshold of womanhood; she's smarter, more attuned, and more spiritually ambitious than those around her, but also too decent and loyal to break from the world she knows-and too unformed to have a grasp of what she wants outside of that world. It's fantastic work.
    • 73 Metascore
    • 88 Glenn Kenny
    The genuine article, a hard-core horror picture from start to finish... Prepare to get seriously stresed.
    • 84 Metascore
    • 88 Glenn Kenny
    The action is violent, messy, and threaded through with dark humor. This is a movie for grownups, for sure, but it has a mulish kick that most such pictures consider themselves to tasteful to aspire to.
    • 68 Metascore
    • 88 Glenn Kenny
    Proceeds at a very stately pace, hoping the otherworldly mood of its detailed recreation of the old West might seep into the viewer's bones. This viewer did, as it happens, fall under the film's spell.
    • 64 Metascore
    • 88 Glenn Kenny
    The Fall is a movie whose every frame pulsates with the desire to be a transportive, transcendent work of cinema. And each one of said frames is full of visual bedazzlement and wonder. So full that one is loathe to sum up with the phrase "Close, but no cigar." But there is something, finally, kind of pushy about the film's desire to be a masterpiece.
    • 89 Metascore
    • 88 Glenn Kenny
    von Donnersmarck delivers something extraordinary and rare: a thriller that's entirely adult in both its concerns and perspective which manages to be as thoroughly gripping as any finely tuned albeit adolescent Hollywood nail-biter.
    • 77 Metascore
    • 88 Glenn Kenny
    As much as I enjoyed much of it, I hope Grindhouse doesn't start any trends. Exploitation cinema is combustible stuff that only highly trained professionals should be permitted to play with.
    • 77 Metascore
    • 88 Glenn Kenny
    So breathtaking is the action.
    • 85 Metascore
    • 88 Glenn Kenny
    Beautiful, lyrical, but not in the least bit wimpy. [May 2004, p. 18]
    • Premiere
    • 66 Metascore
    • 88 Glenn Kenny
    Margot is a fleet, strangely enjoyable film, animated by the acuity of Baumbach's perceptions and -- this helps a lot -- the frequent laugh-out-loud wit of his dialogue.
    • 85 Metascore
    • 88 Glenn Kenny
    I generally resist calling any actor's work "brave" or "fearless" or any such thing, but Bosco's work here made me reconsider that self-imposed ban. It's incredible, harrowing, precise stuff.
    • 75 Metascore
    • 88 Glenn Kenny
    As for this film's esteemed director, I don't remember getting such sheer pleasure out of an Altman movie since . . . hmm, lemme look at the filmo . . . hmm—"The Player"? Not so much . . . "O.C. and Stiggs"? I wish . . . Um, "Popeye"? More likely, but . . . Ah-"A Wedding." Yeah, that’s it, "A Wedding." Whoa. That was, like, almost 30 years ago.
    • 79 Metascore
    • 88 Glenn Kenny
    By turns harrowing and stirring, it’s a shame-inducing history lesson that never feels like a lecture.
    • 80 Metascore
    • 88 Glenn Kenny
    David Strathairn, playing Murrow, follows his writers' lead beautifully, delivering a performance that's all understatement on the surface and searing fire underneath.
    • 85 Metascore
    • 88 Glenn Kenny
    When the movie isn't being scary, it's crazily funny, so much so that critical watchers will wonder if Bong might tilt the balance of the picture too far in a comic direction and water down the scares. He doesn't.
    • 73 Metascore
    • 88 Glenn Kenny
    Exiled brings To back to lighter ground, and it’s one of his most assured, enjoyable pictures, refreshing fun that’s sure to satisfy anyone’s action jones.
    • 83 Metascore
    • 88 Glenn Kenny
    It's terribly strong -- in structural ingenuity, emotional pull, and particularly visual beauty.
    • 66 Metascore
    • 88 Glenn Kenny
    Terrifically charming and energetic film.
    • 65 Metascore
    • 88 Glenn Kenny
    A smart, sweet, and thoroughly disarming ensemble comedy that isn't afraid to wear its humanism on its sleeve.
    • 81 Metascore
    • 88 Glenn Kenny
    In the end, Locke is a cinematic stunt that engrosses as it unspools, and pays dividends after it’s been accomplished.
    • 67 Metascore
    • 88 Glenn Kenny
    All of these actors are incredibly fine, and as a confirmed Beckinsale non-fan, I'm obliged to say that she really knocked me out here.
    • 87 Metascore
    • 88 Glenn Kenny
    If you can hook into it, Level Five is not just witty, insinuating, and penetrating; it’s also unexpectedly moving and, as deliberately threadbare as it often looks, cinematically rich.
    • 71 Metascore
    • 88 Glenn Kenny
    As forceful as its title suggests, and sometimes unbelievably ballsy.
    • 56 Metascore
    • 88 Glenn Kenny
    An intense New York-set thriller that manages to be both commercial and contemplative, kick-ass and quietly, disturbingly insinuating.
    • 78 Metascore
    • 88 Glenn Kenny
    It makes for a daringly different kind of thriller -- cerebral, meticulous, haunting.
    • 65 Metascore
    • 88 Glenn Kenny
    By the end the movie has pretty much ceased taking itself at all seriously, devolving into a nonchalant giggliness of the stoned variety that's completely apropos.
    • 64 Metascore
    • 88 Glenn Kenny
    Not that Diamond skimps on the social commentary; far from it. But it makes its points without too much breast-beating, caching its polemic within a tough-minded entertainment.
    • 57 Metascore
    • 88 Glenn Kenny
    A dynamite thriller.
    • 82 Metascore
    • 88 Glenn Kenny
    A thoroughly engaging, terrifically moving family story that's rich in beautifully observed and lovingly conveyed human detail.
    • 47 Metascore
    • 88 Glenn Kenny
    This is very much a French intellectual cineaste's idea of a B thriller, and hence is as far from innocent in its genre as you can get. Which is not to say that Assayas deals in bad faith.
    • 60 Metascore
    • 88 Glenn Kenny
    Costner’s uncanny evocation of Gary Cooper masculinity and Gregory Peck compassion in the role of coach Jim White is the glue that holds it together, but the rest of the cast is equally inspired.
    • 78 Metascore
    • 88 Glenn Kenny
    Whatever your movie plans, you miss Tracks at your aesthetic pleasure peril. It’s a truly outstanding cinema experience.

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