For 411 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 10.5 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Bad Education
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Negative: 47 out of 411
411 movie reviews
    • 68 Metascore
    • 63 Glenn Kenny
    Those who still relish the sight of Anthony Hopkins portraying an evil criminal mastermind will get the most out of Fracture, which is not so much a whodunit -- we see Hopkins' character putting a bullet in his wife's head in the movie's first few minutes -- as a howdunnit.
    • 59 Metascore
    • 63 Glenn Kenny
    We Own the Night can't sustain itself; as the stakes of the story get higher, Gray paints it in broader and broader strokes until there's almost nothing you can believe in it anymore.
    • 44 Metascore
    • 63 Glenn Kenny
    Too many times the characters in this movie sprint across the line separating quirky charm from know-somethingish affectation, and then stay on the wrong side of it.
    • 72 Metascore
    • 63 Glenn Kenny
    The movie is certainly colorful — this is a guy who, when he had it made, lived VERY large, even if he continued on what seemed like a quest to break every bone in his body multiple times. And it tells, as it keeps reminding us, a very American story. For all that, though, it doesn’t illuminate the guy’s character beyond what’s obvious.
    • 59 Metascore
    • 63 Glenn Kenny
    Accomplished and well-intentioned to the extent that one wants to accentuate the positive, but the positive isn't the whole, alas; for every moment in the film that evokes classic neo-realism, there's another that's commonplace or overly sentimental.
    • 56 Metascore
    • 63 Glenn Kenny
    All this stuff is enacted by a better-than-reliable cast (Griffin Dunne, Robert Downey Jr., Catherine O'Hara, Roger Rees, and more), so Game 6 is never a bore. But it's not much more besides never a bore.
    • 58 Metascore
    • 63 Glenn Kenny
    This movie, as it happens, is a comedy, but it’s a frequently grisly one, and one that makes rollicking fun of a lot of dark Swedish preoccupations.
    • 65 Metascore
    • 63 Glenn Kenny
    While The Great Debaters' intentions don't lead it to movie hell, this picture is far more diffuse, commonplace, and predictable than the surprisingly convincing "Fisher."
    • 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.
    • 74 Metascore
    • 63 Glenn Kenny
    Proves more irksome than moving.
    • 32 Metascore
    • 63 Glenn Kenny
    Confounding. But not without its thrills.
    • 56 Metascore
    • 63 Glenn Kenny
    The movie’s quirky setting pays off dividends where you least expect them. At such moments, the movie’s humanism finally seems unforced, and everything is the better for that.
    • 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.
    • 76 Metascore
    • 63 Glenn Kenny
    The new perspective Scott and Zaillian want to bring to this material never gels convincingly, and despite some effective set pieces, a cast of memorable faces and attitudes, and evocative cinematography by Harris Savides, this would-be epic feels tired and rote.
    • 72 Metascore
    • 63 Glenn Kenny
    It's been well-publicized that Affleck, going for as authentic a feel as possible, cast many genuine South Bostoners in both extra and speaking roles, and, while that's salutary, in some scenes his strategy backfires, yielding caricatures that are merely more vivid than the ones turned out by Central Casting Hollywood productions.
    • 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.
    • 68 Metascore
    • 63 Glenn Kenny
    Its punchline, imagining the worst that could happen to Auteuil's slimy exec, is weak and kind of dumb, but the rest of the film is genial, appealing, and brisk.
    • 67 Metascore
    • 63 Glenn Kenny
    Yeah, it's pretty funny. And it's a pretty accurate depiction of a certain feature of male romantic humiliation. But it's also a little -- and this is one of my two misgivings about the movie -- expected.
    • 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
    • 73 Metascore
    • 63 Glenn Kenny
    If the resultant wreckage is a little underwhelming, and the film's coda useless and trite, the getting there is pretty absorbing.
    • 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.
    • 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.
    • 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
    • 58 Metascore
    • 63 Glenn Kenny
    Compelling and exasperating in pretty much equal doses.
    • 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.
    • 45 Metascore
    • 63 Glenn Kenny
    It's a decent comic-book movie that delivers its goods with good humor and a minimum of bloat.
    • 48 Metascore
    • 63 Glenn Kenny
    The film itself falls short on two crucial levels: it’s neither sufficiently profound nor intoxicating enough to justify or transcend its self-seriousness. As good-looking as the movie and its stars are, Ardor, whose title refers to a literal state of burning, never manages to catch fire.
    • 59 Metascore
    • 63 Glenn Kenny
    This incarnation of Spider Man seems to forget that its source material was a comic book that wanted to transcend its genre. This is a movie that's content to be pretty good within its genre, with the main distinction of being much bigger than any of its competition.
    • 73 Metascore
    • 63 Glenn Kenny
    Time is more than reasonably diverting.
    • 53 Metascore
    • 63 Glenn Kenny
    It does move along at a nice clip, and delivers exactly what belligerent action fans on both sides of the political aisle want -- a wholly admirable figure blowing up a lot of bad s---.

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