For 340 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 13 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Grizzly Man
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 31 out of 340
340 movie reviews
    • 78 Metascore
    • 100 Glenn Kenny
    It's also that he's really, honest-to-God, got one of those movie faces that doesn't even come along once every generation. It's astonishing.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 100 Glenn Kenny
    Olivier Assayas latest effort could be mistaken for a hipper-than-thou thriller. But it isn’t--it’s in fact a difficult, challenging, and troubling art film. [October 2003, p. 19]
    • Premiere
    • 64 Metascore
    • 100 Glenn Kenny
    It's flat-out comedy all the way, head-spinningly clever (you'll be talking about a sequence set in the Louvre for weeks) and always engaging. For my money, it's the comedy of the year.
    • 90 Metascore
    • 100 Glenn Kenny
    One of the funniest, smartest, most moving pictures of the year.
    • 83 Metascore
    • 100 Glenn Kenny
    This is a movie of head-spinning richness.
    • 73 Metascore
    • 100 Glenn Kenny
    Over the course of almost two and a half fascinating hours, they make a cogent, compelling, powerful argument, and they also make a terrific movie.
    • 62 Metascore
    • 100 Glenn Kenny
    The thrills of this movie are aesthetic ones, the creation of new, ravishing imagery (and all three of our young heroes are beautiful enough to be up to this task), the surrender to dream logic, the adoration of the silver screen.
    • 70 Metascore
    • 100 Glenn Kenny
    I haven't been crazy about a lot of Van Sant's recent work, but what he does here is simply astonishing. [November 2003, p. 25]
    • Premiere
    • 76 Metascore
    • 100 Glenn Kenny
    Has a warmth that’s utterly enchanting, and a tenderness that’s genuinely touching. This is a real gem.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 100 Glenn Kenny
    Big Fish really is a big delight.
    • 84 Metascore
    • 100 Glenn Kenny
    Hero is one of the most beautiful and involving films of the year.
    • 59 Metascore
    • 100 Glenn Kenny
    It really is a masterpiece--von Trier's first, as it happens.
    • 69 Metascore
    • 100 Glenn Kenny
    Although this installment is a beautiful stand-alone thang (check out how its chronology-juggling storyline creates a perfect circle, structure-wise).
    • 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.
    • 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.
    • 55 Metascore
    • 100 Glenn Kenny
    The result is by far the most original comedy of the year. Russell might alienate some audience members here--but it’s possible they literally won't know what they're missing.
    • 57 Metascore
    • 100 Glenn Kenny
    Provocative, quietly erotic, deeply romantic, and slyly witty (a cameo by a giant of punk rock is funny at first sight, and funnier still when you figure out the joke it's making), Code 46 is a very effective antidote to summer blockbuster bloat.
    • 81 Metascore
    • 100 Glenn Kenny
    Almodóvar has created a dense, audacious film in which layers of cinematic artifice lovingly camouflage (at least for a while) its characters’ dark, damaged heart.
    • 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.
    • 76 Metascore
    • 100 Glenn Kenny
    Demme here shows off both the mastery of suspense that made "The Silence of the Lambs" a classic, and the humane understanding and appreciation of character that not just deepens but energizes this film.
    • 62 Metascore
    • 100 Glenn Kenny
    Aquatic maintains its buoyancy throughout.
    • 77 Metascore
    • 100 Glenn Kenny
    Resnais employs all the tools of studio-bound moviemaking, silent-era to post-modern, in a way that is not only is consistently dazzling in a purely visual sense, but contains an empathy that lifts the picture to tragic heights even at those points at which it seems practically weightless.
    • 74 Metascore
    • 100 Glenn Kenny
    The first masterpiece of 2008 -- at least by American release date standards -- the latest film from master French director Jacques Rivette is a masterful, multilayered, sometimes enigmatic work of dark irony, an assured tragicomedy of manners and more.
    • 90 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.

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