For 347 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 Million Dollar Baby
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 31 out of 347
347 movie reviews
    • 97 Metascore
    • 100 Glenn Kenny
    A remarkably engrossing and thoughtful picture, beautifully rendered in an artful mode of realism.
    • 94 Metascore
    • 100 Glenn Kenny
    Burnett creates an insistently poetic, devastatingly ironic world and work.
    • 98 Metascore
    • 100 Glenn Kenny
    This intense film, a mix of horror, fantasy, and history that convinces on all those levels and mixes them up with dizzying brio, is a searing cinematic experience, a beautiful, terrifying vision from writer-director Guillermo del Toro.
    • 94 Metascore
    • 100 Glenn Kenny
    Every performance here is wonderful, and the movie abounds in moments so true as to be cringe-worthy.
    • 92 Metascore
    • 100 Glenn Kenny
    There Will Be Blood is, in fact, not a historical saga; rather, it's an absurdist, blackly comic horror film with a very idiosyncratic satanic figure at its core.
    • 91 Metascore
    • 100 Glenn Kenny
    As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
    • 86 Metascore
    • 100 Glenn Kenny
    A triumphant revisiting of territory in which Scorsese is an unchallenged master -- the crime drama.
    • 92 Metascore
    • 100 Glenn Kenny
    Every performer in the international cast -- Seigner, de Bankole, von Sydow (magnificent as Bauby's father), and the late Jean-Pierre Cassel to name but a few -- completely disappears into each of their roles, which I think is as much a testament to Schnabel's talents as to theirs.
    • 96 Metascore
    • 100 Glenn Kenny
    The slapstick-comic set pieces involving Remy and Linguini's cooking struggles might solicit the admiration of Buster Keaton and Jacques Tati.
    • 87 Metascore
    • 100 Glenn Kenny
    Lee and company handle the particulars of the tale with the requisite meticulousness and exquisite taste that marks all the director's films.
    • 90 Metascore
    • 100 Glenn Kenny
    While avoiding specious bromides about universality, Persepolis insists on communicating with its audience, and insists that communication and empathy are the keys to our survival.
    • 86 Metascore
    • 100 Glenn Kenny
    A remarkably appealing success story full of heart and humor and poignancy, with Swank as winning as she’s ever been.
    • 94 Metascore
    • 100 Glenn Kenny
    A phantasmagorical slab of epic entertainment that satisfies on every conceivable level.
    • 62 Metascore
    • 100 Glenn Kenny
    A compelling, rousing and at times strangely moving entertainment.
    • 80 Metascore
    • 100 Glenn Kenny
    The plot is pretty convoluted, but Miyazaki has a very good handle on it and lavishes his customary heart, humor, and inventiveness on every situation he depicts.
    • 78 Metascore
    • 100 Glenn Kenny
    I'm glad that 2046 is different from "Mood" even while being strangely of a piece with it. Like "Mood," it’s a movie of utter wonder and ravishment. But the key here is different.
    • 87 Metascore
    • 100 Glenn Kenny
    Herzog not only tells an incredible story but implies a dark metaphysic of the natural world that makes this film unsettlingly larger than its human subject.
    • 75 Metascore
    • 100 Glenn Kenny
    A superb effort by a first-rank director, and manna from heaven for Cheung fans.
    • 82 Metascore
    • 100 Glenn Kenny
    It's a rare film that can be convincingly tender, bitterly funny, and ruthlessly cutting over the course of fewer than 90 minutes. The Squid and the Whale not only manages this, it also contains moments that sock you with all three qualities at the same time.
    • 87 Metascore
    • 100 Glenn Kenny
    This is more than just the best animated comedy of the year--it's the best comedy of the year, period.
    • 59 Metascore
    • 100 Glenn Kenny
    Playful, poetic, shocking, saddening, and ultimately gratifyingly and honestly big-hearted.
    • 74 Metascore
    • 100 Glenn Kenny
    This lengthy, nuance-filled story about how eye-for-an-eye stuff differs from theory to practice is one of the most considered, thoughtful, and involving movies of its kind.
    • 87 Metascore
    • 100 Glenn Kenny
    For all its seeming simplicity, this is an emotionally and intellectually complex film that holds the viewer in a grip as tight as any classic thriller you can name.
    • 99 Metascore
    • 100 Glenn Kenny
    Composed of relatively few events and scenes, it's often excruciatingly tense and never less than heartbreakingly human. And as much as I admire "Munich," Shadows leaves Spielberg's film in the dust in the moral-ambiguity department. Never before seen in the States, it's already on my year's ten-best list. (April 2006 Premiere)
    • Premiere
    • 73 Metascore
    • 100 Glenn Kenny
    The most impressive thing about the film's technical wizardry is, finally, how unimpressive it is. One doesn't leave the movie with a mind blown by visual bedazzlement but with a soul shattered by the profound sense of tragedy Linklater and company so beautifully put across.
    • 51 Metascore
    • 100 Glenn Kenny
    As it happens, each one of these tales is also a love story, and The Fountain is Aronofsky’s profession of faith concerning love’s place in the idea of eternity. It’s a movie that’s as deeply felt as it is imagined.
    • 71 Metascore
    • 100 Glenn Kenny
    Black Book is Verhoeven's best film since "RoboCop": audacious, smart, shamelessly entertaining.
    • 54 Metascore
    • 100 Glenn Kenny
    It's the stuff of not quite dreams, and it's rendered with such accuracy and hilarity that I am tempted to call Aqua Teen Hunger Force Colon Movie Film For Theaters the most successful full-on surrealist film since Bunuel and Dali's 1930 "L'Age d'Or."
    • 82 Metascore
    • 100 Glenn Kenny
    One of Cronenberg's subtlest, most insinuating pictures, and one of the highlights of the year so far.
    • 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.

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