For 386 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 11.6 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Hard to Be a God
Lowest review score: 0 Good Luck Chuck
Score distribution:
  1. Negative: 40 out of 386
386 movie reviews
    • 70 Metascore
    • 75 Glenn Kenny
    At its best, Mahowny is intricate, engrossing, wryly funny, and strangely poetic.
    • 82 Metascore
    • 75 Glenn Kenny
    Michal Clayton shares a number of affinities with Paddy Chayefsky and Sidney Lumet's "Network." Wilkinson's got the so-mad-he's-sane Peter Finch position; while Swinton embodies a sexless, neurotic, overstressed variant of Faye Dunaway's character. Which leaves Clooney as the (considerably younger) William Holden of the piece. And, yes, he makes the most of it.
    • 76 Metascore
    • 75 Glenn Kenny
    It's kind of amusing to see slinky Christina Aguilera sing the "Live With Me" line about a score of harebrained children, as she clearly hasn't got the faintest idea of what that means.
    • 85 Metascore
    • 75 Glenn Kenny
    More often than not laugh-out-loud hilarious.
    • 59 Metascore
    • 75 Glenn Kenny
    A sweet, sunny, cinematic song of praise to simple '70s pleasures, Roll Bounce isn't any kind of life-changing picture, but it's breezy, good-hearted fun.
    • 67 Metascore
    • 75 Glenn Kenny
    There are more than a couple of moments in this film, adapted by writer-director Tod Williams from a big swatch of Irving’s multigenerational quilt "A Widow for One Year," that get Irving’s sense of grotesque tragedy and tragic grotesquerie just right
    • 83 Metascore
    • 75 Glenn Kenny
    Imelda Staunton is absolutely astonishing.
    • 46 Metascore
    • 75 Glenn Kenny
    Anybody can make a movie that's anti-slavery. But to make a movie that's explicitly anti-democracy-that's something.
    • 69 Metascore
    • 75 Glenn Kenny
    For whatever its flaws, Redbelt offers up a good deal of Mametian red meat while also trying to break out of some of the strictures that Mamet's erected around his own work.
    • 76 Metascore
    • 75 Glenn Kenny
    Moncrieff’s overriding theme here isn’t empowerment but survival. The movie crams a hell of a lot of dysfunction into its 88 minutes.
    • 74 Metascore
    • 75 Glenn Kenny
    This is a movie, not a position paper, and Moore aims to entertain as he informs.
    • 73 Metascore
    • 75 Glenn Kenny
    As exciting and involving as it is brainy.
    • 85 Metascore
    • 75 Glenn Kenny
    Most thrillers of this ilk have no qualms about going past the 120-minute mark, but I think Greengrass and company understood that overdoing it would turn mass excitement into massive headache.
    • 56 Metascore
    • 75 Glenn Kenny
    Shame is a welcome reminder that sex is sometimes too ridiculous to take so seriously.
    • 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.
    • 53 Metascore
    • 75 Glenn Kenny
    What could have been Solondz's most complex and challenging film winds up being a bit on the flat side. Still, the life-forms skittering over its surface are fascinating to behold.
    • 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.
    • 69 Metascore
    • 75 Glenn Kenny
    Genre fans ought to check it out post haste. I’m one myself, and my admiration for the superb conception and execution of the film goes hand in hand with disappointment and irritation.
    • 52 Metascore
    • 75 Glenn Kenny
    My Old Lady is pretty compelling viewing, mostly thanks to Kline, who gives a career-high performance here.
    • 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.”
    • 63 Metascore
    • 75 Glenn Kenny
    In equal parts powerful and peculiar, the film is not my favorite of Green’s, but it helps solidify his position as one of the most visionary young directors around.
    • 76 Metascore
    • 75 Glenn Kenny
    Syriana depicts a system so thoroughly and intractably rotten that the standard liberal how-you-can-make-a-difference solutions--being more conscientious about using electricity, getting a hybrid car, and so on--only look like so much spit in the face of an atomic fireball.
    • 76 Metascore
    • 75 Glenn Kenny
    In the battle of the leading men, Crowe's character has a slight edge, and the actor really makes the most of it, showing us how boyishly mischievous charm and utter venality can exist without seeming contradiction in the same being. But Bale builds to a pretty impressive boil himself after laying back for about three quarters of the film.
    • 51 Metascore
    • 75 Glenn Kenny
    The actors and acting are so attractive--as is, per usual in a Merchant Ivory production, the scenery--that the movie’s less deft handling of the scenario’s various themes, not to mention some stumbling in the final quarter, when the story’s tone grows a little darker, doesn’t stand out as much as it might have.
    • 81 Metascore
    • 75 Glenn Kenny
    If a woman had not in fact certifiably written the picture, I might have thought that Lester Bangs had come back from the dead to pen an account of the teen years of his ideal mate.
    • 62 Metascore
    • 75 Glenn Kenny
    As the caper reaches its conclusion in a swirl of turnabouts and twists -- you'll never guess in whose favor all of them go -- Thirteen delivers more than enough gaming satisfaction for one such picture.
    • 52 Metascore
    • 75 Glenn Kenny
    Perpetually wide-eyed and mega-snarly bedraggled, Christina Ricci prowls through Black Snake Moan looking like something the cat dragged in. If you're anything like me, you'll be very grateful to the cat.
    • 69 Metascore
    • 75 Glenn Kenny
    The suspense aspect works like mad, but what's also noteworthy is the character component, which at times evokes a "Smash Palace"-era Donaldson.
    • 52 Metascore
    • 75 Glenn Kenny
    Ghosts is one of Forman's most ambitious and daring films; would that all of its ambitions were fulfilled.

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