For 346 reviews, this critic has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 12.9 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Big Fish
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 31 out of 346
346 movie reviews
    • 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
    • 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.
    • 97 Metascore
    • 100 Glenn Kenny
    A remarkably engrossing and thoughtful picture, beautifully rendered in an artful mode of realism.
    • 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.
    • 94 Metascore
    • 100 Glenn Kenny
    Burnett creates an insistently poetic, devastatingly ironic world and work.
    • 94 Metascore
    • 100 Glenn Kenny
    Every performance here is wonderful, and the movie abounds in moments so true as to be cringe-worthy.
    • 94 Metascore
    • 100 Glenn Kenny
    A phantasmagorical slab of epic entertainment that satisfies on every conceivable level.
    • 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.
    • 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.
    • 91 Metascore
    • 100 Glenn Kenny
    As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
    • 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.
    • 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.
    • 90 Metascore
    • 100 Glenn Kenny
    One of the funniest, smartest, most moving pictures of the year.
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 75 Glenn Kenny
    All told, while the goods that Daggers offers are choice, the movie ultimately demonstrates that too much can be, well, more than enough.
    • 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.
    • 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.
    • 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.
    • 88 Metascore
    • 88 Glenn Kenny
    Catherine Keener is remarkably subtle and soulful as Capote's friend and helpmeet Harper Lee, who delivers a shocking verdict against him at the end, but the movie, as you probably will not be surprised to learn, is owned by Philip Seymour Hoffman.
    • 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.
    • 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.
    • 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.
    • 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.
    • 87 Metascore
    • 88 Glenn Kenny
    The finest and most genuinely provocative horror movie to emerge in this still very-new century.
    • 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.
    • 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.
    • 86 Metascore
    • 100 Glenn Kenny
    A triumphant revisiting of territory in which Scorsese is an unchallenged master -- the crime drama.
    • 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.

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