For 1,384 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 1 point higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Field Niggas
Lowest review score: 0 Good Luck Chuck
Score distribution:
1384 movie reviews
    • 50 Metascore
    • 50 Glenn Kenny
    An angry movie that’s angry about the right things. But it's so angry that it gets a little crazy about it.
    • tbd Metascore
    • 70 Glenn Kenny
    The details of this engaging and sometimes heart-tugging picture are entirely contemporary.
    • 79 Metascore
    • 80 Glenn Kenny
    One of the many things that White Riot, a documentary about RAR directed by Rubika Shah, brings home is that the world could still use more somethings against racism.
    • 54 Metascore
    • 70 Glenn Kenny
    Choudhury is excellent here as a fraught matriarch — as good as she was as a young rebel three decades back. And Maskati’s performance is a slippery mix of suave and menacing, which helps sell the farthest-fetched elements of this story.
    • 34 Metascore
    • 50 Glenn Kenny
    De Niro is game throughout, and sometimes amusing in that way he can be. But Walken is the funniest performer here.
    • 62 Metascore
    • 80 Glenn Kenny
    It also brings some devilish ingenuity to its variations on “Memento” and other “who am I?” thrillers. And it adds to that something more rare: a genuine emotional potency.
    • 45 Metascore
    • 30 Glenn Kenny
    This is a whiffed effort at an all too familiar subgenre: the ostensibly dark, searing human drama undercut by the fact that all the humans in it are boorish idiots.
    • 58 Metascore
    • 50 Glenn Kenny
    Hence, the movie lumbers its way from intriguing to frustrating. But Berham does manage to keep your attention, even as his vision tends to irritate in the wrong way.
    • 71 Metascore
    • 50 Glenn Kenny
    For the first half-hour or so of Eternal Beauty, Roberts and Hawkins take an unusual and intermittently illuminating approach to depicting mental illness. . . . But the movie doesn’t keep up its good work.
    • 72 Metascore
    • 90 Glenn Kenny
    Possessor is a shocking work that moves from disquieting to stressful with ruthless dispatch.
    • 70 Metascore
    • 70 Glenn Kenny
    The ensemble is superb, and each member has at least one standout moment, but the movie rides on the shoulders of Parsons, as Michael, the host of the party.
    • 53 Metascore
    • 50 Glenn Kenny
    The dénouement of The Artist’s Wife, wasting compassion on a character who has earned only the minimum, winds up fully validating an ideology and morality that is complicit in women’s oppression.
    • 61 Metascore
    • 50 Glenn Kenny
    So far, so good, in the mismatched maybe-eventual-buddy-comedy department. But the movie, written and directed by Andrew Cohn, wants a deeper dimension, and in pursuing that, goes wrong.
    • 60 Metascore
    • 70 Glenn Kenny
    Ultimately the results are eye-popping, sometimes almost confoundingly so.
    • 82 Metascore
    • 90 Glenn Kenny
    While the movie steers around the details of how post-fame Sacks became something of a brand, it beautifully presents a portrait of his compassion and bravery.
    • tbd Metascore
    • 100 Glenn Kenny
    Rarely does a debut feature showcase a talent so fully formed. This is a remarkably potent film.
    • 82 Metascore
    • 90 Glenn Kenny
    Gerima’s challenging, engrossing filmmaking style is measured, simultaneously realistic and impressionistic. What’s out of the frame is often as important, if not more important, than what’s in the frame.
    • 67 Metascore
    • 70 Glenn Kenny
    The movie is impeccably crafted and consistently engaging.
    • 46 Metascore
    • 25 Glenn Kenny
    While I rather doubt that co-writer/director Yuval Adler pitched his new picture as “'Death and the Maiden' meets ‘Leave it to Beaver,’” that sure is what he ended up with, conceptually at least.
    • 84 Metascore
    • 80 Glenn Kenny
    This often visually beautiful movie sometimes ventures full-time into Maleonn’s own dreams and is frank in its depiction of the conflicts in the family — as well as of Maleonn’s struggles to be a good son and an active artist, as his ambitions for the project run ahead of his financial resources.
    • 61 Metascore
    • 50 Glenn Kenny
    Eventually the movie paints itself into a corner then sinks into grisly sludge. Stevenson’s technical skill can’t save him from a trite worldview.
    • 71 Metascore
    • 80 Glenn Kenny
    “Rock & Roll President” is a potent and poignant reminder of how some things used to be and may never be again.
    • tbd Metascore
    • 70 Glenn Kenny
    Because Sánchez followed his subjects for so long, he was able to pack some surprises up the movie’s sleeve. As a couple of its figures undergo drastic life changes, a narrative both tragic and inspiring emerges.
    • tbd Metascore
    • 90 Glenn Kenny
    Isadora’s Children is made with such unusual delicacy that it may elude the grasp of audiences who demand things such as, well, plot. But its sensitivity is rare and valuable.
    • 77 Metascore
    • 70 Glenn Kenny
    The movie’s straddling of the dramatic and the documentary forms is unsettling. Unless you unquestioningly accept its method, this chronicle can look like a glaring invasion of privacy. But the film’s people are moving, and the payoff is compassionate, humane and worth heeding.
    • 77 Metascore
    • 88 Glenn Kenny
    “Copperfield” is a grand, long novel, and in reducing it to 120 minute scale, Iannucci has hewn it to something almost anecdotal.
    • 91 Metascore
    • 100 Glenn Kenny
    “A complete and utter love affair with your blackness.” That’s how one of the interviewees in this incredibly enjoyable documentary describes the tenor of Soul! a U.S. public television arts and chat show that ran from 1968 to 1973. Mr. Soul!, as the title indicates, is not just about the show, but about the visionary that created it and, a little reluctantly, hosted it, Ellis Haizlip.
    • 91 Metascore
    • 90 Glenn Kenny
    Beguiles and fascinates on several levels.
    • 85 Metascore
    • 100 Glenn Kenny
    To elaborate as Chatwin did, Herzog implies, is a legitimate response to places that can’t help but exert a strong pull on the imagination. And of course, the truth-and-a-half principle figures heavily in Herzog’s own art — of which this film is a particularly outstanding example.
    • tbd Metascore
    • 75 Glenn Kenny
    I have to admit: the wrap up got me good, enough to make me admire Facinelli’s ambition and handling of mechanics.

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