For 386 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 11.6 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Winter Sleep
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 40 out of 386
386 movie reviews
    • 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.
    • 67 Metascore
    • 75 Glenn Kenny
    This finale, which piles one bloody absurd epiphany on top of another almost ad infinitum, is where McDonagh lays all his cards on the table -- and his characters are the ones who have to pay up.
    • 67 Metascore
    • 75 Glenn Kenny
    There are more than a couple of moments in this film, adapted by writer-director Tod Williams from a big swatch of Irving’s multigenerational quilt "A Widow for One Year," that get Irving’s sense of grotesque tragedy and tragic grotesquerie just right
    • 67 Metascore
    • 63 Glenn Kenny
    Intermittently compelling but rather unfortunately titled documentary.
    • 67 Metascore
    • 75 Glenn Kenny
    It’s rich enough in atmosphere to make you almost buy the quasi-allegorical absurdities.
    • 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.
    • 67 Metascore
    • 75 Glenn Kenny
    The Homestretch invites you to empathize with its subjects, to worry with them, to laugh with them, to worry about them. It’s engaging and compelling viewing.
    • 67 Metascore
    • 63 Glenn Kenny
    For my money, if I'm in the mood for the kind of aesthetic and emotional experience Saints is selling, I'll just blast Jim Carroll's more concise (and rocking!) "People Who Died" out of my iPod.
    • 67 Metascore
    • 75 Glenn Kenny
    Haupt’s film moves along agreeably enough for a while, and the intercutting between the film’s real-life subjects, now at an advanced age, and their dramatized adventures almost 60 years ago, convincingly creates a rooting interest.
    • 67 Metascore
    • 75 Glenn Kenny
    Whatever its shortcomings, “Magician” accomplishes quite a bit as a corrective, and it also gives one an hour and a half in the company of Orson Welles. That in and of itself is worth at least a three-star rating.
    • 67 Metascore
    • 63 Glenn Kenny
    The dumbness doesn't kill Death at a Funeral, but it certainly weakens it.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 88 Glenn Kenny
    Terrifically charming and energetic film.
    • 66 Metascore
    • 75 Glenn Kenny
    Stardust is an eye-poppingly elaborate fantasy that's shot through with action-movie adrenaline and attitude.
    • 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.
    • 66 Metascore
    • 63 Glenn Kenny
    One of Cruise's most deeply cherished ambitions is to be a great actor, and this movie goes to great lengths to let him do that--sort of. You'll understand what I mean during the sequence in which there is more than one Philip Seymour Hoffman on the screen.
    • 66 Metascore
    • 75 Glenn Kenny
    A very nearly epic romance, one that approaches the idea of a ménage-a-trois as emblematic of a particular idealism on the part of its participants rather than a hotsy-totsy taboo-busting arrangement.
    • 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.
    • 65 Metascore
    • 75 Glenn Kenny
    A picture about tragedy in one American family's life, and it's a convincing and humane one.
    • 65 Metascore
    • 75 Glenn Kenny
    Most of the dialogue is pretty fresh, and it’s delivered with great brio, particularly by Owen. Roberts, alas, is not at her best here, but she has almost nothing to work with.
    • 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.
    • 65 Metascore
    • 75 Glenn Kenny
    A droll, poignant comedy enlivened by two terrific performances.
    • 65 Metascore
    • 63 Glenn Kenny
    While The Great Debaters' intentions don't lead it to movie hell, this picture is far more diffuse, commonplace, and predictable than the surprisingly convincing "Fisher."
    • 65 Metascore
    • 88 Glenn Kenny
    A smart, sweet, and thoroughly disarming ensemble comedy that isn't afraid to wear its humanism on its sleeve.
    • 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.
    • 64 Metascore
    • 75 Glenn Kenny
    While Solondz's world is a hell hole and Anderson's "Rushmore" is a place of high-toned and often poignant whimsy, Napoleon Dynamite's unceasing burlesque creates a world that is pretty much a cartoon--and it's a damn funny cartoon to boot.
    • 64 Metascore
    • 75 Glenn Kenny
    The fact that Boyle and Garland have here created something close to an actual trip rather than the mere spectacle that most screen sci-fi contents itself with being nowadays is enough to recommend Sunshine.
    • 64 Metascore
    • 63 Glenn Kenny
    Northfork feels like the work of a couple of ardent art students who, for whatever reson, are very keen on pleasing their teacher. [July/August 2003, p. 23]
    • Premiere

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