For 548 reviews, this critic has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 7.3 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Army of Shadows
Lowest review score: 0 Chapter 27
Score distribution:
  1. Negative: 75 out of 548
548 movie reviews
    • 82 Metascore
    • 50 Glenn Kenny
    The moviemakers are accomplished enough to make something coherent out of this tonal mishmash, but I was left with a "was this trip really necessary" feeling for all that.
    • 73 Metascore
    • 50 Glenn Kenny
    Ramshackle one minute, pointlessly deliberate the next.
    • 71 Metascore
    • 50 Glenn Kenny
    I wonder if there was a point in the making of this film at which Hickenlooper might have realized he picked the wrong subject. [May 2004, p. 18]
    • Premiere
    • 70 Metascore
    • 50 Glenn Kenny
    Too-laborious meditation on life and death.
    • 69 Metascore
    • 50 Glenn Kenny
    It's too bad that the movie induces eyeball-rolling almost as much as it does armrest-clutching.
    • 68 Metascore
    • 50 Glenn Kenny
    The movie becomes less fizzy once DeCillo decides to make A Statement (a rather incoherent one at that).
    • 67 Metascore
    • 50 Glenn Kenny
    The reason I’m rating this movie higher than I would otherwise, is Christopher Walken. His commitment to making Caleb as thoroughly unlikable as humanly possible yields a character who’s kind of terrifyingly off-putting even when his words and actions are ineffectual. A piece of acting alchemy of which only few are capable. I can’t imagine how powerful it might have been in a better movie.
    • 66 Metascore
    • 50 Glenn Kenny
    The movie has some pleasures, but can be heartily recommended only to those who like their entertainments equally inoffensive and inconsequential.
    • 65 Metascore
    • 50 Glenn Kenny
    Instead of maintaining an effervescent fizzle, Phantom Boy too frequently sputters piffle.
    • 65 Metascore
    • 40 Glenn Kenny
    Ms. Olson’s images are often captivating, but too often undercut by the aforementioned aspiring-to-the-dialectical voice-over, which is awkwardly written, and delivered with a lack of affect that grows tedious over the course of an hour.
    • 65 Metascore
    • 50 Glenn Kenny
    Throughout, the filmmakers live up to the movie’s title. But as the story comes to a close, they opt to wrap it in comforting cliché, and they turn a miserable but credible viewing experience into a confounding one.
    • 65 Metascore
    • 50 Glenn Kenny
    In my cut of the film, it ends after Jones opens the parcel from his son that's been sitting on his kitchen table since shortly after he left. I recommend viewers leave the theater at that point. You won't be sorry that you did.
    • 64 Metascore
    • 50 Glenn Kenny
    The storyline is so rote that the idiosyncrasies of the scene don’t register with any power.
    • 64 Metascore
    • 60 Glenn Kenny
    The movie’s grave commitment to its own quirkiness is admirable, I suppose. But that doesn’t mean I’m going to recommend it.
    • 64 Metascore
    • 50 Glenn Kenny
    A consistent—almost catalog-like, you might say—array of pictorial wonders, Medeas, the debut feature from the Italian-born director Andrea Pallaoro is also a work of considerable daring. This plain, almost minimalist narrative presents itself from a position that neither talks down to nor attempts to cozy up to its audience.
    • 64 Metascore
    • 50 Glenn Kenny
    The image of Gwyneth Paltrow looking anguish-stricken has become such a cinematic meme that it hardly bodes well for Proof that it opens with this sight.
    • 63 Metascore
    • 50 Glenn Kenny
    Zoo
    Constructing the narrative (made up mostly of dramatic reenactments, although given the static nature of many of the scenes, the word "dramatic" is pushing it) obliquely, Devor and co-writer Charles Mudede weave in the thread concerning the individual referred to as "Mr. Hands" into the film almost casually.
    • 63 Metascore
    • 50 Glenn Kenny
    Although McDormand's performance is consistently focused -- one would expect no less from the actress -- the movie itself can't settle on whether Miss Pettigrew is Mary Poppins minus the sugar spoonful or just plain Carrie Nation.
    • 61 Metascore
    • 50 Glenn Kenny
    Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess.
    • 60 Metascore
    • 50 Glenn Kenny
    Wants to be at any given moment--wrenching, thought-provoking, surprising, heartbreaking--all it ever is is tastefully lifeless. It’s been beaten into a coma by its own scruples.
    • 60 Metascore
    • 50 Glenn Kenny
    Everyone involved figured that sentiment trumps sloppiness. Original Soundtrack
    • 59 Metascore
    • 50 Glenn Kenny
    I like a good flying, fire-breathing dragon as much as the next fellow. Beowulf's excesses, though, are such that the film ought to carry the subtitle …But This Is Ridiculous.
    • 59 Metascore
    • 50 Glenn Kenny
    Ms. Demeestere’s direction winds up frustratingly splitting the difference between thoughtfully detached and just plain vague.
    • 58 Metascore
    • 50 Glenn Kenny
    The movie doesn’t quite make it to two hours, but my patience was tried pretty much any point at which the movie went a long stretch without a song.
    • 58 Metascore
    • 50 Glenn Kenny
    That Jarhead is an impressive technical achievement is a given, but ultimately this picture is the last thing any war movie should be: innocuous.
    • 58 Metascore
    • 60 Glenn Kenny
    Mr. Collet-Serra’s busy visual style, which uses a lot of fast-cutting, willy-nilly variations between slow and fast motion, and illogical but vivid point-of-view shots, seems at least somewhat apt under the exhilarating circumstances.
    • 58 Metascore
    • 50 Glenn Kenny
    A moderately entertaining heist movie featuring an animated and reasonably diverting Eccentric Cage Performance.
    • 57 Metascore
    • 40 Glenn Kenny
    The movie is sloppy.
    • 56 Metascore
    • 60 Glenn Kenny
    River of Fundament is often a commanding, engaging and certainly challenging experience. Nevertheless, by the end of the piece I felt deliberately alienated, and to a nearly infuriating degree.
    • 56 Metascore
    • 50 Glenn Kenny
    The period spy thriller The Man From U.N.C.L.E. is only intermittently engaging and amusing, and those portions of the movie that succeed are also frustrating. Because they’re cushioned by enervated, conceptually befuddled, and sometimes outright indifferent stuff.

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