Vincent Canby
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For 167 reviews, this critic has graded:
  • 45% higher than the average critic
  • 2% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Vincent Canby's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Sleepless in Seattle
Lowest review score: 10 Twin Peaks: Fire Walk with Me
Score distribution:
  1. Positive: 85 out of 167
  2. Negative: 27 out of 167
167 movie reviews
    • 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
    • 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
    • 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
    • 87 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
    • 86 Metascore
    • 100 Vincent Canby
    The Grifters moves with swift unsentimental resolve toward a last act as bleak as any in recent American screen literature. In a less skillful work, it would be a downer. The Grifters is so good that one leaves the theater on a spellbound high. [5 Dec 1990]
    • The New York Times
    • 90 Metascore
    • 100 Vincent Canby
    Virtually nonstop exhilaration--a dramatic comedy not quite like any other, and one that sets new standards for Mr. Allen as well as for all American moviemakers. [7 February 1986]
    • The New York Times
    • 100 Metascore
    • 100 Vincent Canby
    One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment. [16 Mar 1972]
    • The New York Times
    • 92 Metascore
    • 100 Vincent Canby
    The entire film is played at such high pitch it may well exhaust audiences that don't come prepared. And, at the heart of the film, there is the mystery of Jake himself, but that is what separates Raging Bull from all other fight movies, in fact, from most movies about anything. Raging Bull is an achievement.
    • 77 Metascore
    • 100 Vincent Canby
    Mr. Allen's most securely serious and funny film to date.
    • 90 Metascore
    • 100 Vincent Canby
    One of the most deliriously funny, ingenious and stylish American adventure movies ever made.
    • 80 Metascore
    • 100 Vincent Canby
    The reason the film prompts laughter, and finally elation, is not because it's jolly or has any feel-good words to live by. It's because of the utterly demonic skill with which these foulmouthed characters carve one another up in futile attempts to stave off disaster.
    • 74 Metascore
    • 100 Vincent Canby
    It's movie making of the high, smooth, commercial order that Hollywood prides itself on but achieves with singular infrequency.
    • 72 Metascore
    • 100 Vincent Canby
    Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect.
    • 75 Metascore
    • 100 Vincent Canby
    It is a film of enormous visceral power with, in the central role, a performance by Tom Cruise that defines everything that is best about the movie.
    • 75 Metascore
    • 100 Vincent Canby
    I'll go out on a limb: I can't believe the year will bring forth anything to equal The Purple Rose of Cairo. At 84 minutes, it's short but nearly every one of those minutes is blissful.
    • 85 Metascore
    • 100 Vincent Canby
    A moving, intelligent and funny film about disasters that are commonplace to everyone except the people who experience them. Not since Robert Benton's "Kramer vs. Kramer" has there been a movie that so effectively catches the look, sound and temper of a particular kind of American existence.
    • 90 Metascore
    • 100 Vincent Canby
    One may legitimately debate the validity of Malick's vision, but not, I think, his immense talent. Badlands is a most important and exciting film.
    • 79 Metascore
    • 100 Vincent Canby
    Hollywood's latest big-budget, high-concept, mass-market reworking of material not entirely fresh, has more endings than Beethoven's Fifth, but it's also packed with surprises, not the least being that it's a smashing work. It's vulgar, violent, funny and sometimes breathtakingly beautiful.
    • 78 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
    • 84 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
    • 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.
    • 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
    • 86 Metascore
    • 90 Vincent Canby
    So entertaining, so flip and so genially irreverent that it seems to announce the return of the great gregarious film maker whose "Nashville" remains one of the classics of the 1970's.
    • 75 Metascore
    • 90 Vincent Canby
    The real thing. It's a sneakily rude, truly zany farce that treats its lunatic characters with a solemnity that perfectly matches the way in which they see themselves.
    • 78 Metascore
    • 90 Vincent Canby
    It seems to me that by describing horror with such elegance and beauty, Kubrick has created a very disorienting but human comedy, not warm and lovable, but a terrible sum- up of where the world is at... Because it refuses to use the emotions conventionally, demanding instead that we keep a constant, intellectual grip on things, it's a most unusual--and disorienting--movie experience.
    • 73 Metascore
    • 90 Vincent Canby
    A big, awkward, crazily ambitious, sometimes breathtaking motion picture that comes as close to being a popular epic as any movie about this country since "The Godfather."

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