For 688 reviews, this critic has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 5.1 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Evolution
Lowest review score: 0 Dirty Grandpa
Score distribution:
688 movie reviews
    • 74 Metascore
    • 25 Glenn Kenny
    Willfully over determined and perversely stylized.
    • 67 Metascore
    • 38 Glenn Kenny
    The movie is pedantic, humorless, dry — all of the things that, as it happens, “The Searchers” is not.
    • 61 Metascore
    • 30 Glenn Kenny
    Until its climax, which clearly seeks to be congratulated on its restraint, Dark Night is not much more than an arty bore.
    • 58 Metascore
    • 38 Glenn Kenny
    The bad news is that, as movies go, Neighbors 2: Sorority Rising barely qualifies as one.
    • 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.
    • 57 Metascore
    • 25 Glenn Kenny
    Band of Robbers just plain doesn’t work, to the extent that I’m almost regretful that the attempted schoolroom bans on Twain’s work weren’t more effective over the years, as they might have spared me watching it.
    • 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.
    • 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
    • 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.
    • 55 Metascore
    • 38 Glenn Kenny
    Such a muddle right off the bat.
    • 55 Metascore
    • 30 Glenn Kenny
    The clichéd story line pursues turgidity with a relentless determination.
    • 55 Metascore
    • 38 Glenn Kenny
    The movie goes for grin-and-cringe-inducing, and instead achieves “excruciating.”
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 30 Glenn Kenny
    The Neon Demon is hot garbage that dares you to call it offensive. In addition, it’s offensive.
    • 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.
    • 50 Metascore
    • 25 Glenn Kenny
    So hackneyed, tired, labored and overstuffed with contempt not only for all of its targets but also its own self that one gets the feeling that the talented Mr. McDonagh has gone mad with rage. Possibly during dealings with the American film industry.
    • 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.
    • 49 Metascore
    • 38 Glenn Kenny
    This is a perhaps even more misbegotten remake than the Farrelly Brothers' update of "The Heartbreak Kid."
    • 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.
    • 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 . . .
    • 48 Metascore
    • 38 Glenn Kenny
    Aside from race jokes, Ted 2 offers a nearly staggering number of weed jokes, a couple of which are mildly funny, or at least funnier than the rape jokes.
    • 48 Metascore
    • 25 Glenn Kenny
    It is earnest and tortured and pointless, in a very self-serious suffer-for/with-art fashion.
    • 48 Metascore
    • 12 Glenn Kenny
    Pet
    In a movie year in which I’ve had to see both “Clown” and “Trash Fire,” the bar for worst of year is pretty low. I suppose that Pet, for me at least, completes a trifecta of sorts.
    • 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.
    • 47 Metascore
    • 20 Glenn Kenny
    Whatever investigation it’s attempting, the movie is leaden in its pacing — the first 15 minutes feel like an hour — and its constricted shooting style, practically all hand-held almost close-ups, is transparent in its contrivance of realism.
    • 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.
    • 47 Metascore
    • 25 Glenn Kenny
    The movie, directed by Robin Pront from a script by Pront and Jeroen Perceval (who’s also one of the film’s lead actors), is well-crafted up to a point. But the end to which it is crafted is utterly useless.

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