Kenneth Turan

Select another critic »
For 1,982 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 10.6 points higher than other critics. (0-100 point scale)

Kenneth Turan's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Out of Sight
Lowest review score: 0 Stolen Summer
Score distribution:
1982 movie reviews
    • 94 Metascore
    • 60 Kenneth Turan
    The writer-director appears to be straining for his effects. Some sequences, especially one involving bondage harnesses and homosexual rape, have the uncomfortable feeling of creative desperation, of someone who's afraid of losing his reputation scrambling for any way to offend sensibilities. [14 Oct 1994]
    • Los Angeles Times
    • 86 Metascore
    • 50 Kenneth Turan
    You can't have Rushmore without Max, and though Anderson obviously planned it this way, the kid is finally too off-putting to tolerate.
    • 86 Metascore
    • 60 Kenneth Turan
    Even when Griffin has a heart of stone, Tim Robbins is lacking in the knid of ice-cold magnetism that allows a thorough bastard to hold the screen like nobody's business. [10 Apr 1992]
    • Los Angeles Times
    • 85 Metascore
    • 50 Kenneth Turan
    While Malick's great ability holds us for a time, it is finally not enough to compensate for a lack of dramatic involvement - those eschatological quandaries tend to overwhelm the story. The Tree of Life, its enormous advantages notwithstanding, ends up a film that demands to be admired but cannot be easily embraced.
    • 83 Metascore
    • 60 Kenneth Turan
    Corpse Bride has more warmth and appeal than its title would indicate, but it is finally more grotesque than good-humored. And, even at 75 minutes, it feels longer than its content can comfortably support.
    • 82 Metascore
    • 60 Kenneth Turan
    It's a nervy, quasi-documentary scheme that's often successful, perhaps more so than you'd expect for this kind of a hybrid endeavor. But Macdonald's technique eventually turns out to be as distancing as it is involving, paradoxically undercutting the reality as often as it enhances it.
    • 81 Metascore
    • 40 Kenneth Turan
    Solondz's filmmaking style tries to make a virtue out of flatness and distance, and is always more comfortable indicating where feelings would go than actually providing them.
    • 81 Metascore
    • 50 Kenneth Turan
    The Wrestler doesn't add up. It's constructed with great care around a lead performance that is everything it could possibly be, but the picture itself is off-putting and disappointing.
    • 81 Metascore
    • 60 Kenneth Turan
    A one-trick pony, a movie that has a gift only for making audiences squirm.
    • 81 Metascore
    • 60 Kenneth Turan
    Though a definite improvement on the last three abortive Star Wars prequels directed by series creator George Lucas, The Force Awakens is only at its best in fits and starts, its success dependent on who of its mix of franchise veterans and first-timers is on the screen.
    • 80 Metascore
    • 50 Kenneth Turan
    Paradoxically, it is Shawshank's zealousness in trying to cast a rosy glow over the prison experience that makes us feel we're doing harder time than the folks inside. [23 Sept 1994]
    • Los Angeles Times
    • 80 Metascore
    • 50 Kenneth Turan
    Pohlad did not lack for ideas about how he wanted to portray Brian Wilson's life, but he is without the wherewithal to effectively put them into practice.
    • 79 Metascore
    • 60 Kenneth Turan
    A potent and unexpected mixture of authenticity and flash -- even if this is what happened on the ground, making it worth our time on screen is just beyond the contortionist abilities of even this most acrobatic of films.
    • 79 Metascore
    • 60 Kenneth Turan
    Though Iron Man is diverting enough in the comic-book-movie mode, there is one thing it doesn't have, and that is dramatic unity. Unlike the irreducible element that is its namesake, Iron Man the movie is an alloy, a combination of several different and disconnected components that don't manage to unite to make a coherent whole.
    • 78 Metascore
    • 60 Kenneth Turan
    Though it has its charms, Monsters, Inc. does not measure up. As a childhood entertainment it is certainly fine, but Pixar's celebrated lure for adults is largely absent.
    • 78 Metascore
    • 60 Kenneth Turan
    Drive is a Los Angeles neo-noir, a neon-lit crime story made with lots of visual style. It's a film in love with both traditional noir mythology and ultra-modern violence, a combination that is not ideal.
    • 77 Metascore
    • 60 Kenneth Turan
    Self-conscious about its heroism with portrayals that lean toward the glib and the professionally uplifting, the film milks our sympathies too readily to be emotionally convincing.
    • 77 Metascore
    • 50 Kenneth Turan
    A performer of formidable self-absorption, Johnston has inspired a film with the same trait, and the results are about what you might expect.
    • 77 Metascore
    • 60 Kenneth Turan
    It's a film of exceptional technical virtuosity that could have used some help in the dramatic department.
    • 76 Metascore
    • 50 Kenneth Turan
    Shallow where it would be meaningful, demanding leaps of faith it has not earned, this film's marriage of arresting technique to empty thinking is not unique, only frustrating.
    • 76 Metascore
    • 40 Kenneth Turan
    That bland, opaque quality is a disadvantage here; whatever else [Depp] is capable of, making audiences feel his pain is not at the top of the list.
    • 76 Metascore
    • 50 Kenneth Turan
    A more impartial filmmaker might have understood the need for other voices to balance against all that attitude, might have understood how hungry the film makes us for even a single non-adulatory moment.
    • 76 Metascore
    • 60 Kenneth Turan
    A solid, often engrossing film that doesn't engage us overall the way Denzel Washington's work does.
    • 76 Metascore
    • 60 Kenneth Turan
    A tragedy devastating to experience can feel generic when transferred to the screen, and that, despite everyone's best intentions and an outstanding performance by Nicole Kidman, is what happens with Rabbit Hole.
    • 75 Metascore
    • 50 Kenneth Turan
    Director Wes Anderson, who also co-wrote the "Royal" script with actor Owen Wilson, unquestionably has one of America's most distinctive filmmaking sensibilities, but that is part of the problem. As my mother used to say, too good is no good.
    • 74 Metascore
    • 60 Kenneth Turan
    In its determination to overdo sure-fire material, Billy Elliot becomes as impossible to wholeheartedly embrace as it is to completely reject.
    • 74 Metascore
    • 50 Kenneth Turan
    The longer it goes, the more frustrating it becomes, as Bar Lev declines to come down on one side or the other.
    • 73 Metascore
    • 60 Kenneth Turan
    Comes off as convincing but never compelling. There's a ponderous quality to it, as if it's forever clearing its throat to say something of value that doesn't quite get articulated.
    • 73 Metascore
    • 40 Kenneth Turan
    Le Week-End is a sour and misanthropic film masquerading as an honest and sensitive romance. A painful and unremittingly bleak look at a difficult marriage, it wants us to sit through a range of domestic horrors without offering much of anything as a reward.
    • 73 Metascore
    • 50 Kenneth Turan
    A measured, decorous, at times pat film that manages to be quietly moving because it touches on something real.

Top Trailers