For 787 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 4.2 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 2046
Lowest review score: 0 The Emoji Movie
Score distribution:
787 movie reviews
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 71 Metascore
    • 75 Glenn Kenny
    It touches deftly on class and race and sexual dissatisfaction and never lets up once it has put its characters under a microscope. Beautifully acted throughout, it showcases Watson's most complex performance in years.
    • 71 Metascore
    • 63 Glenn Kenny
    If there was ever an example of a movie's visual language leaving its verbal and narrative components in the dust, this, unfortunately, is it.
    • 71 Metascore
    • 88 Glenn Kenny
    Ben Kingsley and Jennifer Connelly create characters that live and seethe with absolute credibility, and Ron Eldard’s Lester is a subtle portrait of a good man who lets himself go bad, first out of boredom, then out of erotic fixation.
    • 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
    • 71 Metascore
    • 100 Glenn Kenny
    Black Book is Verhoeven's best film since "RoboCop": audacious, smart, shamelessly entertaining.
    • 71 Metascore
    • 75 Glenn Kenny
    The Way He Looks is a modest and good-hearted film that leaves a clean impression: you’re glad to have spent time with the people in it, for sure. But if you’re someone whose own specific circumstances are substantively different from those of the characters, the sense of a pleasant visit is pretty much it.
    • 71 Metascore
    • 88 Glenn Kenny
    As forceful as its title suggests, and sometimes unbelievably ballsy.
    • 70 Metascore
    • 80 Glenn Kenny
    The movie’s wide-screen framing, ruthless plot reversals and say-what-you-mean writing sometimes recall a master of socially conscious cinema from another era, Sam Fuller. But this is a picture with its own strong voice.
    • 70 Metascore
    • 88 Glenn Kenny
    It's distinctly Morrisean, as it were, and seeing his style applied to subject matter with which one is already somewhat familiar makes one... well, question the style a bit.
    • 70 Metascore
    • 75 Glenn Kenny
    It’s worth seeing twice just for the privilege of watching Rampling and Sagnier match each other stroke for stroke.
    • 70 Metascore
    • 75 Glenn Kenny
    At its best, Mahowny is intricate, engrossing, wryly funny, and strangely poetic.
    • 70 Metascore
    • 60 Glenn Kenny
    Only intermittently stimulating.

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