For 348 reviews, this critic has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% 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 The Squid and the Whale
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 31 out of 348
348 movie reviews
    • 55 Metascore
    • 75 Glenn Kenny
    The drama Dom Hemingway explores involves a vicious lout finding a form of redemption, and while that's an all-too conventional scenario, Shepard's movie plays it out in a brisk, inventive fashion and delivers a moviegoing experience that's almost equal parts stingingly sharp and genuinely sweet.
    • 53 Metascore
    • 75 Glenn Kenny
    The Signal continues to get weirder, and creepier, and to bring up unusual questions for the viewer.
    • 60 Metascore
    • 75 Glenn Kenny
    While it doesn’t hit the highs of the very best movies based on the author’s works — those would be Steven Soderbergh’s “Out of Sight” and Quentin Tarantino’s “Jackie Brown,” two outstanding examples of American narrative cinema of the ‘90s—it’s also far less slick and ingratiating than the watchable but very Hollywood-processed likes of “Get Shorty” and “Be Cool.”
    • 77 Metascore
    • 75 Glenn Kenny
    Even though Wetlands is absolutely, brutally unrelenting in its depictions of bodily functions and searching adolescent sexuality, it’s also an inventively sharp, briskly edited, spectacularly-acted post-adolescent coming-of-age story.
    • 52 Metascore
    • 75 Glenn Kenny
    My Old Lady is pretty compelling viewing, mostly thanks to Kline, who gives a career-high performance here.
    • 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.
    • 60 Metascore
    • 75 Glenn Kenny
    That the filmmakers are able to pursue their theme to the extent that the true story on which the film is based obliges them to somehow has to be credited to Renner. His performance is very good, despite the somewhat stereotypical bro characteristics with which the Webb character is here endowed.
    • 76 Metascore
    • 75 Glenn Kenny
    The terrific cast all delves into the material full-bore, which contributes to its peculiar resonance. Perry may hate everyone and everything, but in making a show of it, he’s thoroughly entertaining.
    • 52 Metascore
    • 75 Glenn Kenny
    To tell you the truth, The Better Angels, as pictorially beautiful and emotionally evocative as it is, is so bereft of conventional narrative momentum that you have to consider it a miracle it got made.
    • 72 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.
    • 68 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.
    • 61 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.
    • 60 Metascore
    • 75 Glenn Kenny
    There’s a lot of good awkward fun to be had as the viewer simultaneously laughs at Otto’s expense and hopefully commiserates a bit with him.
    • 56 Metascore
    • 63 Glenn Kenny
    A tart, funny, moderately over-the-top hijinks-and-snafus yarn.
    • 59 Metascore
    • 63 Glenn Kenny
    Strikes me as more of a thesis piece than anything LaBute has put his name to thus far. Its characters don't seem to be people as much as they are stand-ins for ideas.
    • 62 Metascore
    • 63 Glenn Kenny
    The intellectual aspirations of this series are just window dressing. Which left this viewer to enjoy the freeway chase sequence (which really is cool), Hugo Weaving’s smirk, and even the PlayStationish stuff.
    • 61 Metascore
    • 63 Glenn Kenny
    There's much visual inventiveness and a good sense of fun here. But I was expecting something more spectacular.
    • 38 Metascore
    • 63 Glenn Kenny
    Singleton’s film is, in fact, pretty enjoyable if you look at it as the B-movie it really ought to be, rather than the E-ticket major studio release it actually is.
    • 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
    • 55 Metascore
    • 63 Glenn Kenny
    Hobbled by weak argumentation, a character who winds up a complete muddle, and Sayles’s inclination to romanticize Latin American revolutionary types, Casa is as mixed an effort as the filmmaker has essayed in some time. [October 2003, p. 18]
    • Premiere
    • 70 Metascore
    • 63 Glenn Kenny
    A modestly scaled film on every level, but Hedges and company manage to ring true on almost all the material's sweet and sour notes.
    • 47 Metascore
    • 63 Glenn Kenny
    On the plus side, there are these super-scary mechanical octopus-type things with a billion eyes and metal tentacles that fly in great awful swarms and look like the non-organic versions of the flying-brain-and-spinal-cord monsters that made the otherwise laughable '60s sci-fi flick "Fiend Without aFace" so cool.
    • 55 Metascore
    • 63 Glenn Kenny
    Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.
    • 74 Metascore
    • 63 Glenn Kenny
    Proves more irksome than moving.
    • 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
    • 52 Metascore
    • 63 Glenn Kenny
    As a meditation of American life, Greendale is anything but coherent, but it is fluidly free-associative and shows bizarre wit, as when Young himself shows up to play Wayne Newton. [March 2004, p. 27]
    • Premiere
    • 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.
    • 64 Metascore
    • 63 Glenn Kenny
    While brisk, informative, and entertaining, feels frustratingly sketchy.
    • 50 Metascore
    • 63 Glenn Kenny
    Scarlett Johansson looks lovely and hasn't much to do besides that, McGregor only starts having fun when he's playing the "original" of his clone.
    • 52 Metascore
    • 63 Glenn Kenny
    Though this new Hills is both scarier and smarter than 95 percent of the other horror product out there, it's also indicative of everything that's wrong with horror movies today.

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