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 Crimes and Misdemeanors
Lowest review score: 10 Pee-wee's Big Adventure
Score distribution:
  1. Positive: 85 out of 167
  2. Negative: 27 out of 167
167 movie reviews
    • 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.
    • 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
    • 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
    • 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.
    • 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.
    • 73 Metascore
    • 90 Vincent Canby
    Mr. and Mrs. Bridge is wise and funny and just a little bit scary. Though it's an adaptation, it has the manner of a true original.
    • 62 Metascore
    • 90 Vincent Canby
    The Big Chill represents the best of mainstream American film making. It's a reminder that the same people who turn out our megabuck fantasies are often capable of working even more effectively on the small, intimate scale of The Big Chill.
    • 77 Metascore
    • 90 Vincent Canby
    Kramer vs. Kramer is densely packed with such beautifully observed detail. It is also superbly acted by its supporting cast, including Jane Alexander, Howard Duff and George Coe.
    • 65 Metascore
    • 90 Vincent Canby
    Scarface is the most stylish and provocative - and maybe the most vicious - serious film about the American underworld since Francis Ford Coppola's "Godfather."
    • 56 Metascore
    • 90 Vincent Canby
    Falling Down is the most interesting, all-out commercial American film of the year to date, and one that will function much like a Rorschach test to expose the secrets of those who watch it.
    • 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.
    • 70 Metascore
    • 90 Vincent Canby
    GREASE is not really the 1950's teen-age movie musical it thinks it is, but a contemporary fantasy about a 1950's teen-age musical—a larger, funnier, wittier and more imaginative-than-Hollywood movie with a life that is all its own. It uses the Eisenhower era — the characters, costumes, gestures and particularly, the music—to create a time and place that have less to do with any real 50's than with a kind of show business that is both timeless and old-fashioned, both sentimental and wise. The movie is also terrific fun.
    • 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.
    • 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.
    • 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)
    • 66 Metascore
    • 80 Vincent Canby
    A big, convoluted, entertainingly dizzy romantic mystery melodrama.
    • 65 Metascore
    • 80 Vincent Canby
    Basically decent, intelligent and sweet. It's a fanciful romantic comedy whose wildest and craziest notion is that Los Angeles, for all of its eccentricities, is a great place to live.
    • 65 Metascore
    • 80 Vincent Canby
    The dancing itself, especially the dirty dancing, choreographed by Kenny Ortega, looks very contemporary, or, at least, as contemporary as "Saturday Night Fever," but it has a drive and a pulse that give the filim real excitement. [21 Aug 1987, p.C3]
    • The New York Times
    • 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.
    • 79 Metascore
    • 80 Vincent Canby
    If you think about Jaws for more than 45 seconds you will recognize it as nonsense, but it's the sort of nonsense that can be a good deal of fun, if you like to have the wits scared out of you at irregular intervals.
    • 77 Metascore
    • 80 Vincent Canby
    The Big Red One, for all its uncompromising brutality, is viscerally, angrily alive. Fuller was lucky to survive the war. It is our good fortune that this film, a tribute to his luck (and to those who did not share it), has come back to life.
    • 82 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.
    • 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
    • 79 Metascore
    • 80 Vincent Canby
    How each frees the other is the stuff of Free Willy, which is as engaging as such films can be without offering rude surprises.
    • 68 Metascore
    • 80 Vincent Canby
    A rollicking musical memoir, as much a recollection of the show as of the period, a film that has the charm of a fable and the slickness of Broadway show biz at its breathless best.
    • 77 Metascore
    • 80 Vincent Canby
    Bernardo Bertolucci's Last Tango in Paris is a beautiful, courageous, foolish, romantic, and reckless film.
    • 71 Metascore
    • 80 Vincent Canby
    The great satisfaction of Mad Dog and Glory is watching Mr. De Niro and Mr. Murray play against type with such invigorating ease. Each is the other's straight man, a relationship that is hilariously set up in the initial encounter of the cop and the hoodlum.
    • 45 Metascore
    • 80 Vincent Canby
    The Distinguished Gentleman is an easy, breezy romp of a movie, a low comedy of highly entertaining order.
    • 71 Metascore
    • 80 Vincent Canby
    Postcards From the Edge seems to have been a terrifically genial collaboration between the writer and the director, Miss Fisher's tale of odd-ball woe being perfect material for Mr. Nichols's particular ability to discover the humane sensibility within the absurd.

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