For 742 reviews, this critic has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 4.8 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Control
Lowest review score: 0 Good Luck Chuck
Score distribution:
742 movie reviews
    • 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.
    • 84 Metascore
    • 100 Glenn Kenny
    The action is gorgeously fluid, the idiosyncratic 3-D visual conceits (including floating eyeballs undersea) are startling, and the story and its metaphors resolve in unexpected and moving ways.
    • 84 Metascore
    • 90 Glenn Kenny
    Each individual shot creates a frisson of desolation that resonates far beyond the facile irony suggested by the movie’s title.
    • 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.
    • 84 Metascore
    • 90 Glenn Kenny
    The variable incongruities of Glory give it a queasy power uncommon in contemporary cinema. It’s the feel-bad movie of the spring.
    • 83 Metascore
    • 100 Glenn Kenny
    While the movie’s multiple images are never less than numinous, and its rhythms sometimes skirt the strangely seductive, this astonishing movie is the opposite of hypnotic.
    • 83 Metascore
    • 88 Glenn Kenny
    It's terribly strong -- in structural ingenuity, emotional pull, and particularly visual beauty.
    • 83 Metascore
    • 75 Glenn Kenny
    Throughout the picture, Bernstein interacts with genteel folk who quietly deplore what they see as the American perception of art and art-making.
    • 83 Metascore
    • 100 Glenn Kenny
    This is a movie of head-spinning richness.
    • 83 Metascore
    • 75 Glenn Kenny
    Imelda Staunton is absolutely astonishing.
    • 83 Metascore
    • 75 Glenn Kenny
    The film is beautifully acted by all, but Nora-Jane Noone, as the sloe-eyed orphan Bernadette, is first among equals here, and a genuine find.
    • 83 Metascore
    • 88 Glenn Kenny
    This isn’t a film that makes a big deal of its contemporary authenticity; it wears its carefully measured elements lightly, the better to shine a light on its intriguing characters.
    • 83 Metascore
    • 75 Glenn Kenny
    This movie won an award in the Un Certain Regard section of Cannes last year, and was also Finland’s entry for consideration for a 2016 Academy Award. For all that, I should warn some readers that this is a movie that’s laid back to what many would consider a fault.
    • 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.
    • 82 Metascore
    • 75 Glenn Kenny
    A domestic comedy-drama that starts off from a fairly pat premise but builds strength over the course of its careful, empathetic, and crafty unpeeling of its characters.
    • 82 Metascore
    • 75 Glenn Kenny
    With almost palpable anger, Meirelles hammers home the point that crushing poverty is only one problem for Africa that the West needs to do something about.
    • 82 Metascore
    • 75 Glenn Kenny
    It's a film that approaches greatness and then fumbles.
    • 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.
    • 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.
    • 82 Metascore
    • 88 Glenn Kenny
    A thoroughly engaging, terrifically moving family story that's rich in beautifully observed and lovingly conveyed human detail.
    • 82 Metascore
    • 75 Glenn Kenny
    Michal Clayton shares a number of affinities with Paddy Chayefsky and Sidney Lumet's "Network." Wilkinson's got the so-mad-he's-sane Peter Finch position; while Swinton embodies a sexless, neurotic, overstressed variant of Faye Dunaway's character. Which leaves Clooney as the (considerably younger) William Holden of the piece. And, yes, he makes the most of it.
    • 82 Metascore
    • 90 Glenn Kenny
    The substantial pleasures of the movie are supplemented by the gratification of seeing an emerging talent with concerns far outside the conventional indie realm asserting himself with such authority.
    • 82 Metascore
    • 100 Glenn Kenny
    The movie culminates in a cinematic coup de grâce bold enough to spin your head — one that gives the movie an entirely new dimension.
    • 82 Metascore
    • 88 Glenn Kenny
    The movie is relentless in how it poses questions about our culture’s way of dealing with the power of female sexuality (and it wouldn’t work without Robinson, whose appearance and performance is impeccable for the job) and acknowledges that there’s not only unease in these questions and their answers but also mordant hilarity.
    • 82 Metascore
    • 63 Glenn Kenny
    Unfortunately, the reach of The Return exceeds its grasp, and so this film of gruffly beautiful images didn't put a hook in me the way Zvyagintsev so ardently seems to want it to. [March 2003, p. 27]
    • Premiere
    • 82 Metascore
    • 63 Glenn Kenny
    The point of it all being that history and poetry are not possible without personified antimonies, real or imagined. Neruda does not make this point in any particularly convincing way, despite excellent performances by Luis Gnecco as the title character, a stolid Gael Garcia Bernal as his pursuer, and Mercedes Morán as Delia.
    • 82 Metascore
    • 100 Glenn Kenny
    One of Cronenberg's subtlest, most insinuating pictures, and one of the highlights of the year so far.
    • 81 Metascore
    • 75 Glenn Kenny
    It's churlish, especially these days, to try to split the difference between an immortal comedy classic and a mere laugh riot.
    • 81 Metascore
    • 75 Glenn Kenny
    If a woman had not in fact certifiably written the picture, I might have thought that Lester Bangs had come back from the dead to pen an account of the teen years of his ideal mate.
    • 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.

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