For 1,543 reviews, this critic has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 I Heart Huckabees
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
1543 movie reviews
    • 77 Metascore
    • 75 Glenn Kenny
    It’s in the climbing sequences that the movie’s animation is at its most imaginative, creating effects both exhilarating and harrowing.
    • 63 Metascore
    • 75 Glenn Kenny
    Ferrara’s filmmaking always has a blunt elemental force and conviction. It doesn’t quite transcend the commonplace aspect of what he’s trying to “say.” And yet transcending isn’t the point—doing is. This is not just guerrilla filmmaking, it’s a kind of action painting. A literal journey to the end of the night.
    • 84 Metascore
    • 88 Glenn Kenny
    In the meantime, this movie means to make us notice the marvelous in the everyday, in much the way that a great James Schuyler poem does.
    • 71 Metascore
    • 70 Glenn Kenny
    Julia is an apt tribute to a life well-lived and well-fed.
    • 46 Metascore
    • 50 Glenn Kenny
    If this kind of genre stuff is your cinematic meat, and you’re properly enamored of any of the principal cast members, Swab has enough directorial energy to keep the proceedings watchable at the least.
    • 85 Metascore
    • 90 Glenn Kenny
    The atmosphere the director creates, once fully breathed in, has an emotional gravity that becomes devastating as it settles.
    • 61 Metascore
    • 63 Glenn Kenny
    This is a fascinating and pertinent tale, but one major aspect of its telling gives me serious pause.
    • tbd Metascore
    • 90 Glenn Kenny
    Aslani pulls story threads together with an elegant moving camera that doesn’t immediately give up all the secrets a scene may contain.
    • 57 Metascore
    • 50 Glenn Kenny
    Alas, all the world-building filmmakers may contrive doesn’t count for much if they don’t put it across visually. And this heavily rotoscoped vision does not get where it needs to be to achieve genuine trippiness.
    • tbd Metascore
    • 70 Glenn Kenny
    Here the now-elders seem delighted to make a joyful noise with the generations they influenced.
    • 76 Metascore
    • 75 Glenn Kenny
    A Cop Movie, directed by Alonso Ruizpalacios, is exceptionally challenging to begin with. As the movie unspools, and the layers of its production become clearer, we understand the challenge is the movie’s entire objective—up to a point.
    • 56 Metascore
    • 50 Glenn Kenny
    Corsbie has filmmaking energy to spare but also makes many undergrad errors.
    • 67 Metascore
    • 75 Glenn Kenny
    While Gladiator and Kingdom of Heaven throbbed with purposeful vitality, pictures such as Robin Hood and 1492: Conquest of Paradise seemed to lack much of a reason for being. Scott’s The Last Duel may not be perfect but it never exhibits such inertia.
    • 70 Metascore
    • 70 Glenn Kenny
    Job tensions hammer at the fault lines of the couple’s marriage, but the movie maintains an understated “I love ya, tomorrow” tone. A pleasant sit — the kind of picture that’s moving, but not too moving.
    • 60 Metascore
    • 38 Glenn Kenny
    The movie’s flabbiness, its unfocused flopping from scene to scene, its disinclination to provide any individual scene with any dimension beyond its immediate impact, practically vitiates the entire theme of Dickie’s ostensible mentorship of Tony Soprano.
    • 69 Metascore
    • 75 Glenn Kenny
    Eventually—about the time it demonstrates Henry’s expertise as a killer of men, in several well-done action mini-sequences—we learn the details of Henry’s past, and your overall enjoyment of the movie may hinge on whether or not you’re willing to, as they say, go with it.
    • tbd Metascore
    • 60 Glenn Kenny
    [A] friendly and entirely uncritical documentary.
    • 64 Metascore
    • 60 Glenn Kenny
    While the whole thing is ruthlessly well done, it also sometimes seems to lean into a kind of moral relativism.
    • 83 Metascore
    • 90 Glenn Kenny
    An excellent documentary directed by Richard Peete and Robert Yapkowitz.
    • tbd Metascore
    • 90 Glenn Kenny
    Morrison, who is the producer, director and editor of this strangely intoxicating film, is a cinematic investigator of the first stripe.
    • 73 Metascore
    • 80 Glenn Kenny
    Andresen’s determination to rise above misfortune, and his hopes for himself, make this movie less than a total tragedy. But it’s an often shudder-inducing cautionary tale.
    • 61 Metascore
    • 75 Glenn Kenny
    The shoot-'em-ups are consistently “whoa!”-eliciting, and while you couldn’t call any of the plot twists genuinely unpredictable, they do not lack for intrigue.
    • 79 Metascore
    • 90 Glenn Kenny
    Wife of a Spy is something like linear narrative perfection, with every scene perfectly calibrated.
    • 58 Metascore
    • 88 Glenn Kenny
    These small events transpire in beautifully shot, unhurried scenes. This is Eastwood’s version of pastoral. Mike pieces his ruined life back together in a sense. He finds pleasure in being of service to a community. The professed agnostic takes Marta’s hand when she prays to begin a meal, and likes it. The simple sincerity about what’s worthwhile in life is the movie’s reason for being. Nothing more and nothing less.
    • 85 Metascore
    • 100 Glenn Kenny
    This concise but cogent documentary directed by Tom Surgal is crammed with exhilarating sounds, moving reminiscences and stimulating arguments that it is not just music, but vital music.
    • 64 Metascore
    • 60 Glenn Kenny
    There’s some fascinating and provocative material in The Capote Tapes that is diluted by the director Ebs Burnough’s insistence on teasing a question that, arguably, has a self-evident answer.
    • 74 Metascore
    • 88 Glenn Kenny
    I’ll always love Lynch’s “Dune,” a severely compromised dream-work that (not surprising given Lynch’s own inclination) had little use for Herbert’s messaging. But Villeneuve’s movie IS “Dune.”
    • 72 Metascore
    • 75 Glenn Kenny
    The Year of the Everlasting Storm is definitely a noteworthy achievement in anti-escapism, which the current cinema could certainly always use more of.
    • 77 Metascore
    • 100 Glenn Kenny
    With The Card Counter, Schrader has a sub-theme he can toss off like a light cloak, and when he does, the movie swerves into a semi-surreal realm not entirely like that of the climax of First Reformed. But then it swerves back into a variation on Bresson that constitutes one of the most brilliant shots of his career.
    • 34 Metascore
    • 30 Glenn Kenny
    The cynical pro forma luridness Yakuza Princess grinds out suggests that sensationalist cinema, or at least its most ostensibly mainstream iteration, is currently depleted of resources.

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