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 11.5 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
    • 64 Metascore
    • 63 Glenn Kenny
    While 1408 is no classic, it is refreshing to see a horror picture that just wants to do its job rather than prove to its audience how ruthlessly nihilistic it is.
    • 61 Metascore
    • 63 Glenn Kenny
    It's the stuff of countless advice columns, daytime talk shows, sitcoms, romantic comedies. Quite frankly, it's tired. What makes a difference here -- although really not enough of one -- is the people.
    • 73 Metascore
    • 63 Glenn Kenny
    Time is more than reasonably diverting.
    • 55 Metascore
    • 63 Glenn Kenny
    This picture reminded me of one of the things I like best about "All the President’s Men": It doesn’t give a good godd--- about Woodward and Bernstein’s personal lives.
    • 67 Metascore
    • 63 Glenn Kenny
    The dumbness doesn't kill Death at a Funeral, but it certainly weakens it.
    • 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.
    • 75 Metascore
    • 63 Glenn Kenny
    It's a fascinating portrait, but it's also choppy and rushed and lopsided.
    • 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.
    • 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.
    • 78 Metascore
    • 63 Glenn Kenny
    Starting Out never builds to the explosive climax it seems to be heading for, which I suppose is a good thing for its overall integrity, but maybe not so good for its motion-picture value.
    • 43 Metascore
    • 63 Glenn Kenny
    As a fan and well-wisher of Coppola's, I wanted very much to like this movie, and I'll probably give it another shot once the DVD comes out. But, at first sight, Youth Without Youth's striving for exuberance reveals an almost desperate effort too much of the time.
    • 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."
    • 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.
    • 52 Metascore
    • 63 Glenn Kenny
    Gondry might have been better off keeping his movie on theoretical/slapstick grounds, because, quite frankly, his attempts at sincerity just don't make it.
    • 69 Metascore
    • 63 Glenn Kenny
    The courtroom scenes are the animated ones…and said animation looks rather cruder than your average PS3 game.
    • 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.
    • 52 Metascore
    • 63 Glenn Kenny
    All this is frustrating, as the picture contains a few grace notes that remind one what an acute filmmaker Wong can be.
    • 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.
    • 62 Metascore
    • 63 Glenn Kenny
    It hardly adds up to much, but it doesn't mean to, and it'll leave you with a cleaner conscience than an Austin Powers picture.
    • 32 Metascore
    • 63 Glenn Kenny
    Confounding. But not without its thrills.
    • 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.
    • 45 Metascore
    • 63 Glenn Kenny
    A slight but not-unengaging Young Person’s Romantic Comedy.
    • 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.
    • 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.
    • 53 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.
    • 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.
    • 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.
    • 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.
    • 30 Metascore
    • 63 Glenn Kenny
    Surprise! One doesn’t want to damn the movie with faint praise by saying “it’s not that bad,” but that’s kind of the most objectively accurate description of it, in all honesty.
    • 51 Metascore
    • 63 Glenn Kenny
    By no means watch this if you’re looking for a nourishing cinematic experience. But if your idea of a cozy rom-com is an old Hugh Grant one, this has some cine-comfort-food-carbs for you.

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