Vincent Canby

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For 339 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 2.2 points higher than other critics. (0-100 point scale)

Vincent Canby's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Grifters
Lowest review score: 10 Blame It on Rio
Score distribution:
  1. Negative: 43 out of 339
339 movie reviews
    • 47 Metascore
    • 50 Vincent Canby
    Chaplin is to serious biography, even to Mr. Attenborough's Gandhi, what unfortified cornflakes are to real food. It's slick packaging around what is mostly warm air.
    • 44 Metascore
    • 30 Vincent Canby
    So little goes on that it might be argued that The Burbs means to be a comment on the vacuity of popular entertainment in the television age, though it's much more an example of it. The film does nothing for the reputation of anyone connected with it, including Mr. Hanks, who deserves the Oscar nomination he has just received for his work in Big. This time he's attempting to act a role in a screenplay whose pages are blank.
    • 22 Metascore
    • 10 Vincent Canby
    Though the scenery can't be faulted, there's not a single funny or surprising moment in the movie. However, Blame It on Rio is not simply humorless. It also spreads gloom. It's one of those unfortunate projects that somehow suggests that everyone connected with the movie hated it and all of the other people involved.
    • 52 Metascore
    • 50 Vincent Canby
    The idea is funnier than the execution. Miss Goldberg is only funny when she is being foul-mouthed, which seems rude since no one else is allowed to respond in kind or degree.
    • 70 Metascore
    • 80 Vincent Canby
    At its best, which it frequently is, it's a lunatic ball, an extremely genial, witty example of what is becoming a movie genre all its own.
    • 61 Metascore
    • 30 Vincent Canby
    It's another example of the ever-widening gap between the real world and the fantasies of a kind of artistic temperament more concerned with random self expression than with the expression of coherent feelings or ideas about love, alienation, outrage, politics or even of movie-making. It shrivels the imagination instead of enriching it. [7 Oct. 1981]
    • 77 Metascore
    • 100 Vincent Canby
    The film itself is invigorating - written, directed, and acted with enormous insight and comic elan. [27 Sept 1991]
    • The New York Times
    • 52 Metascore
    • 40 Vincent Canby
    This time, though, Mr. Lynch's conceits are less often pleasurably disorienting than out of focus.
    • 79 Metascore
    • 90 Vincent Canby
    Though small in physical scope, Reservoir Dogs is immensely complicated in its structure, which for the most part works with breathtaking effect. [23 Oct 1992]
    • The New York Times
    • 66 Metascore
    • 30 Vincent Canby
    Weightless. It is also, unfortunately, without much point at all... A movie of random effects and little accumulative impact.
    • 78 Metascore
    • 60 Vincent Canby
    Mr. De Niro and Mr. Grodin are lunatic delights, which is somewhat more than can be said for the movie, whose mechanics keep getting in the way of the performances. [20 July 1988, p.C15]
    • The New York Times
    • 93 Metascore
    • 100 Vincent Canby
    What makes it so instructively entertaining is the pivotal character of Claus von Bulow, played by Jeremy Irons within an inch of his professional life. It's a fine, devastating performance, affected, mannerly, edgy, though seemingly ever in complete control. [17 Oct 1990]
    • The New York Times
    • 91 Metascore
    • 100 Vincent Canby
    A remarkable piece of work. [30 June 1989]
    • The New York Times
    • 80 Metascore
    • 30 Vincent Canby
    The dialogue reports funny things instead of showing them. The movie remains in a limbo halfway between the informed anarchy of Monty Python comedy stripped of all social and political satire, and the comparatively genteel comedy of "The Lavender Hill Mob." [15 July 1988, p.C8]
    • The New York Times
    • 66 Metascore
    • 80 Vincent Canby
    A big, convoluted, entertainingly dizzy romantic mystery melodrama.
    • 79 Metascore
    • 100 Vincent Canby
    It raises the spirits not by phony sentimentality but by the amplitude of its art. From time to time, it is also roaringly funny... A terrific movie. [1 Oct 1993, p.C1]
    • The New York Times
    • 89 Metascore
    • 100 Vincent Canby
    Merchant, Ivory and Jhabvala triumph again with their entertaining, richly textured film. [13 March 1992]
    • The New York Times
    • 72 Metascore
    • 100 Vincent Canby
    Mr. Lee means for Malcolm X to be an epic, and it is in its concerns and its physical scope. In Denzel Washington it also has a fine actor who does for Malcolm X what Ben Kingsley did for “Gandhi.” [18 November 1992]
    • The New York Times
    • 84 Metascore
    • 100 Vincent Canby
    Looks grand without being overdressed, it is full of feeling without being sentimental. Here’s a film for adults. It’s also about time to recognize that Mr. Ivory is one of our finest directors. [5 November 1993, p. C1]
    • The New York Times
    • 89 Metascore
    • 100 Vincent Canby
    Prepare yourself for something very special...Here's a severely beautiful, mysterious movie that, as if by magic, liberates the romantic imagination. [16 Oct 1993]
    • The New York Times
    • 83 Metascore
    • 80 Vincent Canby
    Ms. Pfeifer is lovely, the visual focal point of the film, but also much more. With her soft voice, her reserve and her quickness of mind, her Ellen has emotional weight. She's the film's heart and conscience. [17 Sept 1993, p.C1]
    • The New York Times
    • 85 Metascore
    • 80 Vincent Canby
    Unforgiven... never quite fulfills the expectations it so carefully sets up. It doesn't exactly deny them, but the bloody confrontations that end the film appear to be purposely muted, more effective theoretically than dramatically.
    • 58 Metascore
    • 40 Vincent Canby
    The movie finally is never very convincing. Even the special effects aren't great. Mr. Connery, however, wears the movie as if it were a favorite old hat. He makes it look good.
    • 91 Metascore
    • 90 Vincent Canby
    "E.T." is as contemporary as laser-beam technology, but it's full of the timeless longings expressed in children's literature of all eras.
    • 57 Metascore
    • 50 Vincent Canby
    Like "Blood Simple," it's full of technical expertise but has no life of its own... The direction is without decisive style. [11 Mar 1987, p.C24]
    • The New York Times
    • 85 Metascore
    • 90 Vincent Canby
    All sorts of macabre things have gone on, and are still going on just offscreen, in Jonahan Demme's swift, witty new suspence thriller.[14 February 1991]
    • The New York Times
    • 28 Metascore
    • 10 Vincent Canby
    It's not the worst movie ever made; it just seems to be. Its 134 minutes induce a state of simulated brain death, an effect as easily attained in half the time by staring at the blinking lights on a Christmas tree.
    • 80 Metascore
    • 90 Vincent Canby
    As Lucy Honeychurch, Miss Bonham Carter gives a remarkably complex performance of a young woman who is simultaneously reasonable and romantic, generous and selfish, and timid right up to the point where she takes a heedless plunge into the unknown.
    • 72 Metascore
    • 40 Vincent Canby
    Mr. Blake's screenplay and Mr. Costner's direction of it are, with the exception of three memorable sequences, commonplace. The film is painstakingly composed of small details of frontier and tribal life that should be riveting. Most of the time they aren't.
    • 74 Metascore
    • 90 Vincent Canby
    Nothing Miss Close has done on the screen before approaches the richness and comic delicacy of her work as the Marquise. [21 Dec 1988, p.C22]
    • The New York Times

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