For 357 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 12.8 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The Life Aquatic with Steve Zissou
Lowest review score: 0 Good Luck Chuck
Score distribution:
  1. Negative: 34 out of 357
357 movie reviews
    • 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
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 63 Glenn Kenny
    Depends on how you're feeling about Tom Cruise--as opposed to the character he's putatively playing.
    • 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.
    • 61 Metascore
    • 63 Glenn Kenny
    There's much visual inventiveness and a good sense of fun here. But I was expecting something more spectacular.
    • 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.
    • 46 Metascore
    • 63 Glenn Kenny
    CJ7
    The overall feel is Hong Kong to the core…which means CJ7, like the first 25 minutes or so of "Shaolin Soccer," doesn't make many allowances to Western sensibilities.
    • 32 Metascore
    • 63 Glenn Kenny
    Confounding. But not without its thrills.
    • 57 Metascore
    • 63 Glenn Kenny
    The first English-language film from Norwegian director Eric Poppe is a conscientious and beautifully shot movie that ultimately bogs down in its own disinclination to come to any kind of dramatically useful conclusion about its subject.
    • 58 Metascore
    • 63 Glenn Kenny
    Remember this name: Aksel Hennie. If Pioneer, a mixed bag of a conspiracy thriller, works at all, it largely does so because of him. Hennie, now into his second decade as an actor in Norwegian film (he’s also written and directed a feature) gives a spectacular performance as Petter.
    • 42 Metascore
    • 63 Glenn Kenny
    It could be that Franco and Hudson, while not phoning it in, bring personae that are just too familiar/conventional to spark a high level of viewer involvement.
    • 51 Metascore
    • 63 Glenn Kenny
    A handsomely mounted, never-less-than conspicuously intelligent but ultimately too-conventional historical drama, The Liberator shoehorns the epic life of early 19th-century South American revolutionary Simón Bolivar into two hours of intermittently powerful cinema.
    • 44 Metascore
    • 63 Glenn Kenny
    A slight but not-unengaging Young Person’s Romantic Comedy.
    • 54 Metascore
    • 63 Glenn Kenny
    This ABCs of Death is, either as a result of a surfeit of artistic freedom or just my own narrower-than-the-producers’ strictures of taste, as much of a hit-and-miss affair as the first, which came out in 2012.
    • 87 Metascore
    • 63 Glenn Kenny
    Strickland’s film is a daring, atmosphere-soaked piece of kink hypnotherapy that pays explicit homage to the films of Franco, down to the casting of former Franco regular, formidable femme Monica Swinn, in a sinister role.
    • 53 Metascore
    • 63 Glenn Kenny
    What follows is all handsomely shot and not without some general interest — but the movie’s only really going to play for you if motorcycles and those who ride them are subjects to which you’re somewhat sympathetic.
    • 69 Metascore
    • 50 Glenn Kenny
    It's too bad that the movie induces eyeball-rolling almost as much as it does armrest-clutching.
    • 82 Metascore
    • 50 Glenn Kenny
    The moviemakers are accomplished enough to make something coherent out of this tonal mishmash, but I was left with a "was this trip really necessary" feeling for all that.
    • 51 Metascore
    • 50 Glenn Kenny
    300
    That it's so flat as an action movie probably has a lot to do with why people might prefer to jawbone over its putatively controversial aspects--there's really not much of a “wow” factor to revel in.
    • 55 Metascore
    • 50 Glenn Kenny
    It’s very colorful, for sure, but the dialogue is lead-footed at best.
    • 64 Metascore
    • 50 Glenn Kenny
    The image of Gwyneth Paltrow looking anguish-stricken has become such a cinematic meme that it hardly bodes well for Proof that it opens with this sight.
    • 58 Metascore
    • 50 Glenn Kenny
    That Jarhead is an impressive technical achievement is a given, but ultimately this picture is the last thing any war movie should be: innocuous.
    • 49 Metascore
    • 50 Glenn Kenny
    I hold Soderbergh in high esteem, but as handsome a technical achievement as it is, The Good German plays to me as a failed experiment.
    • 61 Metascore
    • 50 Glenn Kenny
    Meet the Robinsons is a mess -- a sometimes fun but mostly frustrating mess.
    • 63 Metascore
    • 50 Glenn Kenny
    Zoo
    Constructing the narrative (made up mostly of dramatic reenactments, although given the static nature of many of the scenes, the word "dramatic" is pushing it) obliquely, Devor and co-writer Charles Mudede weave in the thread concerning the individual referred to as "Mr. Hands" into the film almost casually.
    • 50 Metascore
    • 50 Glenn Kenny
    The kitchen action here is pretty diverting -- everybody involved seems to have boned up on their Bourdain and Buford, and having done so, sanitized what they've gleaned with Hollywood polish.
    • 68 Metascore
    • 50 Glenn Kenny
    The movie becomes less fizzy once DeCillo decides to make A Statement (a rather incoherent one at that).
    • 65 Metascore
    • 50 Glenn Kenny
    In my cut of the film, it ends after Jones opens the parcel from his son that's been sitting on his kitchen table since shortly after he left. I recommend viewers leave the theater at that point. You won't be sorry that you did.

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