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 My Own Private Idaho
Lowest review score: 10 Harry and the Hendersons
Score distribution:
  1. Positive: 85 out of 167
  2. Negative: 27 out of 167
167 movie reviews
    • 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
    • 100 Metascore
    • 90 Vincent Canby
    The movie is perfectly cast, from Trintignant and on down, including Pierre Clementi, who appears briefly as the wicked young man who makes a play for the young Marcello. The Conformist is flawed, perhaps, but those very flaws may make it Bertolucci's first commercially popular film. (Review of Original Release)
    • 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
    • 93 Metascore
    • 80 Vincent Canby
    Acting of this sort is rare in films. It is a display of talent, which one gets in the theater, as well as a demonstration of behavior, which is what movies usually offer. Were Mr. De Niro less an actor, the character would be a sideshow freak. (Review of Original Release)
    • 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.
    • 91 Metascore
    • 80 Vincent Canby
    Everyone treats his material with the proper combination of solemnity and good humor that avoids condescension. One of Mr. Lucas's particular achievements is the manner in which he is able to recall the tackiness of the old comic strips and serials he loves without making a movie that is, itself, tacky.
    • 91 Metascore
    • 90 Vincent Canby
    Steven Spielberg's giant, spectacular Close Encounters of the Third Kind...is the best—the most elaborate—1950's science fiction movie ever made, a work that borrows its narrative shape and its concerns from those earlier films, but enhances them with what looks like the latest developments in movie and space technology.
    • 91 Metascore
    • 100 Vincent Canby
    A remarkable piece of work. [30 June 1989]
    • The New York Times
    • 91 Metascore
    • 90 Vincent Canby
    A huge, initially ambivalent but finally adoring, Pop portrait of one of the most brilliant and outrageous American military figures of the last one hundred years.
    • 90 Metascore
    • 100 Vincent Canby
    One of the most deliriously funny, ingenious and stylish American adventure movies ever made.
    • 90 Metascore
    • 60 Vincent Canby
    After Hours is not, ultimately, a satisfying film, but it's often vigorously unsettling.
    • 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.
    • 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
    • 90 Metascore
    • 90 Vincent Canby
    No other performer (Jack Nicholson) in an Antonioni film, except Jeanne Moreau in "La Notte," has so gracefully submitted to Mr. Antonioni and survived intact. (Review of Original Release)
    • 89 Metascore
    • 90 Vincent Canby
    Although Mr. Petri quite consciously makes movies about ideas, he has, in his "Investigation," made a movie in which the ideas, and the man who seethes with them, have the shock and impact of the most fundamental kind of melodrama.
    • 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
    • 88 Metascore
    • 90 Vincent Canby
    Life Is Sweet, a title that should not be taken as irony, demands that the audience accept its meandering manner without expectations of the big dramatic event or the boffo laugh. It is very funny, but without splitting the sides.
    • 87 Metascore
    • 100 Vincent Canby
    Merchant, Ivory and Jhabvala triumph again with their entertaining, richly textured film. [13 March 1992]
    • The New York Times
    • 87 Metascore
    • 90 Vincent Canby
    It is galvanizing because of Al Pacino's splendid performance in the title role and because of the tremendous intensity that Mr. Lumet brings to this sort of subject. (Review of Original Release)
    • 86 Metascore
    • 70 Vincent Canby
    Mr. Coppola, the writer as well as the director, has nearly succeeded in making a great film but has, instead, made one that is merely very good.
    • 86 Metascore
    • 70 Vincent Canby
    With the exception of Nicholson, its good things are familiar things - the rock score, the lovely, sometimes impressionistic photography by Laszlo Kovacs, the faces of small-town America.
    • 86 Metascore
    • 70 Vincent Canby
    Mr. Polanski and Mr. Towne attempted nothing so witty and entertaining, being content instead to make a competently stylish, more or less thirites-ish movie that continually made me wish I were back seeing "The Maltese Falcon" or "The Big Sleep." Others may not be as finicky. [21 June 1974]
    • 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
    • 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.
    • 86 Metascore
    • 70 Vincent Canby
    Superman is good, clean, simple-minded fun, though it's a movie whose limited appeal is built in.
    • 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.
    • 84 Metascore
    • 80 Vincent Canby
    Naked is as corrosive and sometimes as funny as anything Mr. Leigh has done to date. It's loaded with wild flights of absurd rhetoric and encounters with characters so eccentric that they seem to have come directly from life. Nobody would dare imagine them.
    • 84 Metascore
    • 80 Vincent Canby
    Mr. Brooks's screenplay overstates matters both at the beginning of the film and at the end, with a prologue that strains to be cute and an epilogue that is just unnecessary. In between, however, the movie is a sarcastic and carefully detailed picture of a world Mr. Brooks finds fascinating and also a little scary.
    • 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
    • 84 Metascore
    • 90 Vincent Canby
    It looks to be clean and pure and without artifice, even though it is possibly as sophisticated as any commercial American movie ever made.

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