For 1,101 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Kill Bill: Vol. 1
Lowest review score: 0 Gotti
Score distribution:
1101 movie reviews
    • 12 Metascore
    • 20 Glenn Kenny
    The single achievement of I Hate Kids, a new comedy directed by John Asher, is that it is simultaneously tepid and offensive.
    • 28 Metascore
    • 38 Glenn Kenny
    Although he’s playing a man of letters, Jonathan Rhys-Meyers swans around the film’s settings with a pout that suggests that he’s waiting for his cue to sing “Please allow me to introduce myself.”
    • 41 Metascore
    • 38 Glenn Kenny
    The depictions of degradation and sadism are arguably accurate, yes. But they’re executed in a context that’s almost entirely free of meaningfully specific historical detail, to the extent that one comes to suspect this movie of commodifying human suffering.
    • 63 Metascore
    • 60 Glenn Kenny
    This picture is well acted (one of the cast members, Manuel García-Rulfo, has a growing profile in Hollywood; he was seen last year in “Widows” and “Sicario: Day of the Soldado”) and maintains narrative interest without ever grabbing the viewer by the lapels.
    • 49 Metascore
    • 50 Glenn Kenny
    As ridiculous as it gets, and that’s plenty, A Dog’s Way Home manages to serve up a one- to two-hankie finale, depending on the extent of your dog-person-ness.
    • 49 Metascore
    • 50 Glenn Kenny
    There are intimations of “Tales From the Crypt,” “Final Destination,” “The Game,” and other older, better films here; this movie never catches a fire like any of those did, and even its twist coda feels dreary and pro forma.
    • 79 Metascore
    • 80 Glenn Kenny
    Schroeder’s approach is calm, almost detached, in keeping with his other work (although the choice of de Medeiros to speak for Buddhism, and with a nonspecific Asian-seeming accent at that, struck me as an avoidable misstep); this makes the bleakness of what he recounts (which is buttressed by an insinuatingly menacing score by Jorge Arriagada) that much more resonant.
    • 40 Metascore
    • 38 Glenn Kenny
    As for those special effects, they are vivid, colorful, convincing. They aren’t quite so good that you don’t notice the WWII fantasy scenarios enacted therein are clichéd constructions reenacted in high heels.
    • tbd Metascore
    • 70 Glenn Kenny
    The cultural transformation and re-transformation of Miami Beach (specifically its southern tip, South Beach) is a story that’s fascinating, poignant, garish and, in some ways, befuddling.
    • 66 Metascore
    • 80 Glenn Kenny
    There’s a lot to like here, particularly Steinfeld’s performance.
    • 44 Metascore
    • 38 Glenn Kenny
    But it looks great, right? Not really. Directed by Christian Rivers, a longtime art director for Jackson, the overall look asks the question, “are you sick of Steampunk yet,” and for me, yeah.
    • 72 Metascore
    • 80 Glenn Kenny
    Along with the loving portraiture are elements of peculiar mystery.
    • 64 Metascore
    • 60 Glenn Kenny
    It’s never boring but a trifle diffuse. If you’re a Miyazaki fan, you’ll want to see it anyway.
    • 75 Metascore
    • 100 Glenn Kenny
    Ghostbox Cowboy feels like a William Gibson adaptation directed by David Lynch and Jean-Luc Godard — while not directly lifting from or nodding to those artists. It’s rare that a release so late in the year is so noteworthy, but this is a genuine find.
    • tbd Metascore
    • 80 Glenn Kenny
    This film lays bare how the American health care system seems designed, at every level, to fail the mentally ill and those who try to be of genuine service to them.
    • 71 Metascore
    • 75 Glenn Kenny
    Amid all the jaw-dropping tales of bullying behavior, there is a constant and almost mordant acknowledgement of the one thing that Ailes was scarily right about: that no public official will ever again be elected “without the skillful use of television.”
    • 71 Metascore
    • 80 Glenn Kenny
    Gillan plays her messy, mournful role with unfussy integrity. The movie does not stray beyond the borders of the modest character study, but within those parameters, it’s accomplished and impressively straightforward.
    • tbd Metascore
    • 60 Glenn Kenny
    Some of the details about female characters that Silver and the screenwriter Jack Dunphy choose to foreground...indicate that the filmmakers share with their male characters a strain of artsy-bro misogyny. The movie is nevertheless striking and stimulating in some respects.
    • 58 Metascore
    • 50 Glenn Kenny
    Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky’s screenplay is cliché-packed.
    • tbd Metascore
    • 80 Glenn Kenny
    Fowler’s film is made up of familiar documentary components: archival footage, reminiscences by friends and readings of the subject’s letters. But these are ordered in a way that is less concerned with telling a story, or explaining Bartlett’s life, than with evoking his qualities of erudition, curiosity, enthusiasm, care and sometimes anger.
    • tbd Metascore
    • 80 Glenn Kenny
    This film adheres to Rams’s aesthetics by being brisk, matter of fact, well lighted and composed of clean lines, metaphorically speaking. Brian Eno’s score, which he recorded as a series of discrete compositions, adds to the movie’s linear elegance.
    • 51 Metascore
    • 70 Glenn Kenny
    The filmmakers are clearly trying to bring an uncommon maturity to the fantasy film, and in many respects they succeed. While not everything here works, what does is impressive.
    • 71 Metascore
    • 75 Glenn Kenny
    This film about an exemplary woman, made by women, is as much a pleasure as it is a lesson.
    • 32 Metascore
    • 30 Glenn Kenny
    The plot is twisty in a perfunctory way, the action predictably explosive, the sought-after exhilaration nonexistent.
    • 62 Metascore
    • 75 Glenn Kenny
    The movie is not interested in wrapping things up via a “smash the mirror” epiphany. It’s to Oliver’s credit that he’s taken a more tough-minded than easily cathartic approach. And Ansel Elgort’s wonderful performance does appropriate honor to the ambiguity the movie is trucking in.
    • tbd Metascore
    • 40 Glenn Kenny
    Relentless, spell-it-all-out dialogue is wedded to a clunky visual approach that’s pretty much the cinema equivalent of a wikiHow entry.
    • 77 Metascore
    • 70 Glenn Kenny
    Dweck divides his efforts between elegiac tone poem and shaggy-dog ensemble piece.
    • 57 Metascore
    • 50 Glenn Kenny
    Instant Family isn’t a hellish movie, although it is very much a Hollywood one.
    • 26 Metascore
    • 25 Glenn Kenny
    One of several reasons River Runs Red is such a resentment-generating movie is that it takes a vitally serious subject and makes such a relentlessly dumb hash of it.
    • 79 Metascore
    • 100 Glenn Kenny
    What’s most bewitching throughout “Scruggs” is its sense of detail. Its meshing of formal discipline and screwed-down content sometimes give it the sense of a work that has been carefully and elaborately embroidered rather than photographed.

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