For 726 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 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 There Will Be Blood
Lowest review score: 0 I Know Who Killed Me
Score distribution:
726 movie reviews
    • 72 Metascore
    • 80 Glenn Kenny
    Beth B is not out to deliver a comprehensive biography. Instead, she achieves a vivid snapshot of a still-vital artist late in a still-purposeful life.
    • 72 Metascore
    • 80 Glenn Kenny
    As an oblique examination and critique of political and art history and their various interactions over the 20th century, Manifesto is both witty and provocative. It is not, however, a motion picture for people seeking a plot.
    • 72 Metascore
    • 90 Glenn Kenny
    Always Shine is a deft, assured movie with a sly self-reflexive undercurrent containing commentary on sexism and self-idealization that’s provocative, and sometimes disturbing.
    • 72 Metascore
    • 75 Glenn Kenny
    He was a real artist and, especially if you believe that art is all about asking questions, about life and about art, he was a great one.
    • 72 Metascore
    • 63 Glenn Kenny
    The movie is certainly colorful — this is a guy who, when he had it made, lived VERY large, even if he continued on what seemed like a quest to break every bone in his body multiple times. And it tells, as it keeps reminding us, a very American story. For all that, though, it doesn’t illuminate the guy’s character beyond what’s obvious.
    • 72 Metascore
    • 100 Glenn Kenny
    An exhilarating switchup: A comic fable that’s both deftly clever and irrepressibly goofy.
    • 72 Metascore
    • 75 Glenn Kenny
    The picture’s great, fast-moving fun for the most part, and Kilmer gives his most appealing, relaxed, and amusing performance since "Real Genius."
    • 72 Metascore
    • 75 Glenn Kenny
    Loushy is resourceful, particularly as an editor, and the talking heads, even those not as internationally famous as the compassionate, articulate, and still-distressed Oz, are spectacularly compelling.
    • 72 Metascore
    • 75 Glenn Kenny
    The ending, while not inapt, also delves into a realm of cinematic overstatement that the movie had up until that time been careful to avoid. While disappointing, it doesn’t wholly mitigate the power of what has come before. This is an engrossing and unnerving film.
    • 72 Metascore
    • 80 Glenn Kenny
    The characters and the actors playing them are appealing, and the fight scenes have a lot of moxie, not to mention a lot of steel-slinging.
    • 72 Metascore
    • 75 Glenn Kenny
    In a sense, the weirdest thing about Gimme Danger is how not weird it is.
    • 72 Metascore
    • 75 Glenn Kenny
    The performances in the picture are all solid, but what makes Summertime really refreshing is that it doesn’t treat its central romance as anything but wholly normal, despite the attitude of other characters, or indeed, the tenor of the time in which it is set.
    • 72 Metascore
    • 80 Glenn Kenny
    The filmmakers’ bold pushback against the rigid formality of the genre they draw upon doesn’t always deliver. With the exception of Ms. Korine, the performers often seem to have a hard time shaking off the aura of the contemporary. Nevertheless, there’s much of value here.
    • 72 Metascore
    • 70 Glenn Kenny
    One need not admire Zweig’s writing to recognize the worth of this thoughtful treatment of one of the countless real-life tragedies of 20th-century history.
    • 72 Metascore
    • 75 Glenn Kenny
    Thanks to the movie's very clear respect for Cash and his music, and thanks mostly to the two superb, heartfelt performances by Reese Witherspoon as Carter and Joaquin Phoenix as Cash, Walk the Line eventually earned my sympathy.
    • 72 Metascore
    • 88 Glenn Kenny
    While I have no problem enthusiastically recommending writer-director Nicolas Winding Refn's Pusher trilogy, I'd also heartily discourage all but the most rabid crime-movie nuts from consuming the whole thing in one afternoon or evening.
    • 72 Metascore
    • 60 Glenn Kenny
    Only intermittently stimulating.
    • 72 Metascore
    • 70 Glenn Kenny
    An eccentric and lively animated fantasy.
    • 71 Metascore
    • 75 Glenn Kenny
    Pheonix is smartly-constructed enough that non-acolytes interested in checking out Harry's world won't need too long to catch up.
    • 71 Metascore
    • 88 Glenn Kenny
    The result is a kind of very faux documentary style, which, along with the subject matter, has suggested to some the influence of the BBC television series "The Office." Von Trier says he's never seen an episode, and I believe him.
    • 71 Metascore
    • 80 Glenn Kenny
    This is not a picture about which extravagant claims ought to be made; it really is, in the end, an hour and change in a London disco in 1984. But as a page from an artist’s notebook, and a time capsule curio, it rates pretty high.
    • 71 Metascore
    • 75 Glenn Kenny
    This is the kind of comedy that gives you two meaty underhanded jokes for every big obvious guffaw. It doesn't add up to much more than that, but there's no earthly reason why it ought to.
    • 71 Metascore
    • 50 Glenn Kenny
    This sentimental, nearly genteel movie demonstrates there’s a world of difference between invoking magic and conjuring it.
    • 71 Metascore
    • 75 Glenn Kenny
    While it's not nearly as beguiling as the Coen's last pic, the uncanny "The Man Who Wasn't There," Cruelty is still a brisk hoot.
    • 71 Metascore
    • 75 Glenn Kenny
    The movie also show’s Perrier’s humor, and his talents as a mentor.
    • 71 Metascore
    • 50 Glenn Kenny
    The issues presented in When Two Worlds Collide are so crucial that it feels churlish to characterize it as a dutiful, and ultimately pedestrian, documentary. There is something evasive about it as well.
    • 71 Metascore
    • 80 Glenn Kenny
    When the tension finally does break, the movie goes a little nuts, in venerable Johnnie To tradition. The elaborate, largely slow-motion multifloor action climax is as audacious as anything he has staged and filmed.
    • 71 Metascore
    • 90 Glenn Kenny
    This is a potent, vital film.
    • 71 Metascore
    • 70 Glenn Kenny
    It may surprise people who’ve experienced the Gallaghers only in tabloid-fodder mode that “Supersonic” teems with stirring and even moving moments.
    • 71 Metascore
    • 50 Glenn Kenny
    A more finely focused treatment would have made a much better summation of, or introduction to, Mr. Naharin’s work.

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