For 50 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 1.4 points lower than other critics. (0-100 point scale)

Glenn Whipp's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 We the Animals
Lowest review score: 10 The Only Living Boy in New York
Score distribution:
  1. Positive: 30 out of 50
  2. Negative: 6 out of 50
50 movie reviews
    • 74 Metascore
    • 70 Glenn Whipp
    Rachel Mason performs a nice bit of misdirection with the film, starting with humorous juxtapositions of this nice, elderly Jewish couple running a gay porn shop and then moving toward a poignant story of acceptance.
    • 72 Metascore
    • 70 Glenn Whipp
    D.W. Young’s lovely film introduces us to several sellers of rare books, New Yorkers, all of them smart and self-aware enough to know how they’re perceived. (There hasn’t been this much tweed in a movie since “Gosford Park.”)
    • 65 Metascore
    • 70 Glenn Whipp
    What distinguishes “Tigertail” is the way Yang explores Pin-Jui’s earlier life as a means of showing how duty and obligation brought him to that place. And as Yang takes us on that journey with him, he also offers a low-key lesson for redemption — examine the past to escape regret.
    • 68 Metascore
    • 60 Glenn Whipp
    Director Francesco Zippel doesn’t challenge Friedkin, letting him spin his life’s work as he pleases.
    • 76 Metascore
    • 90 Glenn Whipp
    The considerable achievement of “Birth of the Cool” comes from the way it understands those words and places them in the context of American history. You’ll want to listen to Miles’ music after watching the film and, when you do, you might feel it a little deeper.
    • 74 Metascore
    • 70 Glenn Whipp
    Jawline provides an evenhanded examination of celebrity and loneliness in the digital age.
    • 80 Metascore
    • 70 Glenn Whipp
    Crosby’s spirit remains vital, and he’s determined to fly that freak flag into that good night.
    • 82 Metascore
    • 100 Glenn Whipp
    Zagar, judiciously adapting the book with Daniel Kitrosser, submerges the audience into their world from the outset, presenting a fluid stream of bittersweet and vivid episodes from the family’s life that gradually build into something profound.
    • 69 Metascore
    • 80 Glenn Whipp
    In its own modest way, it’s one of the year’s bravest films.
    • 73 Metascore
    • 80 Glenn Whipp
    As a portrait of a man who surrendered his career and much of his life to the service of a master, Filmworker proves compelling, particularly for those with a passing interest in Kubrick.
    • 46 Metascore
    • 70 Glenn Whipp
    To complain that nothing much happens here or ponder the film's curiously tame view of university life (Rodney Dangerfield would most definitely get no respect here) is to miss the point of the movie, which is to serve as a vehicle for McCarthy, spotlighting her warm, screwball spirit and irrepressible physical comedy.
    • 33 Metascore
    • 10 Glenn Whipp
    "Only Living Boy" fails to convince as a character study, romance or love letter to the CBGB-era New York City. It drops a plot bombshell close to the end of its 88-minute running time, but the filmmakers haven’t laid the track to make it plausible.
    • 68 Metascore
    • 70 Glenn Whipp
    Even if you’re familiar with the facts, Icarus casts the depth of deception with an immediacy that’s often astounding.
    • 64 Metascore
    • 80 Glenn Whipp
    With Grace’s sure hand and the strong work of lead actors Wyatt Russell and Alex Karpovsky, Folk Hero & Funny Guy is the kind of road trip movie where it’s a pleasure to ride shotgun.
    • 54 Metascore
    • 50 Glenn Whipp
    Director Charlie McDowell, who co-wrote the film with Justin Lader, sidesteps the material’s more intriguing ideas, ultimately settling for a conventional story about love, loss and second chances. The disappointment comes not in the lack of answers but in the relative absence of audacity in tackling such a trippy concept.
    • 88 Metascore
    • 90 Glenn Whipp
    That Hell or High Water makes you empathize with and understand (though not excuse) each member of this disparate quartet is a tribute to the way Taylor Sheridan’s screenplay works equally well as a thriller, character study and pointed social commentary.
    • 56 Metascore
    • 70 Glenn Whipp
    An insightful and wildly entertaining look at the wrestlers who ply their trade south of the border.
    • 66 Metascore
    • 60 Glenn Whipp
    For a movie about the creator of some of the most pointed, controversial comedies in television history, Norman Lear: Just Another Version of You has a curious habit of sidestepping some of the thornier and more interesting aspects of its subject’s life.
    • 87 Metascore
    • 100 Glenn Whipp
    Love & Friendship is, first and foremost, a master class on the art of comic timing, in its filmmaking and acting.
    • 60 Metascore
    • 80 Glenn Whipp
    The movie has plenty of the expected fun with its parade of B-movie, VFX-created creatures — a werewolf, giant praying mantis and an army of angry garden gnomes, among them — but it also possesses a sly self-awareness.
    • 56 Metascore
    • 70 Glenn Whipp
    When the plot circles back to those opening moments, the movie finds a momentum that ends spectacularly. And again: Benicio Del Toro is playing Pablo Escobar. What more do you need?
    • 63 Metascore
    • 70 Glenn Whipp
    That cost can be seen in the tight strain on Hawke's face. An actor with the gift of gab (most notably in his collaborations with Richard Linklater), Hawke here delivers a nuanced turn as a man on the threshold of emotional ruin.
    • 75 Metascore
    • 80 Glenn Whipp
    The joy on display here is contagious.
    • 68 Metascore
    • 70 Glenn Whipp
    Director David Lewis' movie functions as mostly a highlights reel rather than an exhaustive look at Hentoff's life.
    • 42 Metascore
    • 50 Glenn Whipp
    The movie presents the best possible version of the event without the massive lines, drugs, drunkenness and hellish traffic.
    • 70 Metascore
    • 70 Glenn Whipp
    Block's work, so often ahead of the curve (Woodward and Bernstein marvel at how he understood Watergate before them), always comes shining through, revealing an artist who made it his mission to champion the "little guy" and speak truth to power.
    • 38 Metascore
    • 40 Glenn Whipp
    A tonal jumble, veering between forced farce and tired, rom-com beats, with little feeling real or true.
    • 26 Metascore
    • 40 Glenn Whipp
    Kramer, 10 years removed from his lone critical success, "The Cooler," and writer Adam Minarovich aren't exactly aping Tarantino, if only because they don't have the talent or inclination to aim that high.
    • tbd Metascore
    • 60 Glenn Whipp
    Assaulted: Civil Rights Under Fire is a reasoned counter to Michael Moore's "Bowling for Columbine" and, as such, a constructive addition to the current national firearms debate.
    • 62 Metascore
    • 70 Glenn Whipp
    Baker's transformation from "spiritual father" to megalomaniac follows a familiar path of brainwashing and hedonism.

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