Glenn Kenny

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Premiere, RogerEbert.com, The New York Times
For 1,927 reviews, this critic has graded:
  • 51% higher than the average critic
  • 5% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 0.6 points lower than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Flight of the Red Balloon
Lowest review score: 0 I Know Who Killed Me
Score distribution:
  1. Positive: 1,196 out of 1927
  2. Mixed: 472 out of 1927
  3. Negative: 259 out of 1927
1927 movie reviews
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    • 87 Metascore
    • 80 Glenn Kenny
    Can You Bring It: Bill T. Jones and D-Man in the Waters
    The intercutting between vintage footage of the Jones/Zane company and the student production, as well as footage from another contemporary production of the piece — shot with an onstage intimacy that recalls the in-the-ring segments of Martin Scorsese’s “Raging Bull” — make for an unusually lively documentary experience.
    • 36 Metascore
    • 40 Glenn Kenny
    Space Jam: A New Legacy
    There’s a nearly astute satire of the app-driven life bubbling under the meta high jinks. And the movie throws so many gags at the screen that several jokes actually stick. But the purposeful sensory overload mostly yields head-spinning stupefaction, leaving a viewer feeling like Wile E. Coyote after hitting a mesa wall.
    • tbd Metascore
    • 60 Glenn Kenny
    We Intend to Cause Havoc
    The music itself is exciting enough that it washes out some of the unpleasant taste of the film’s early “white people discovering stuff” tone. And Chanda himself is incredibly winning, especially when he takes the stage.
    • 63 Metascore
    • 63 Glenn Kenny
    Meander
    Phantasm, gnarly as it could get, always had an impish side, just as the monumental power of AC/DC is leavened by the sight of its elfin lead guitarist in a schoolboy uniform. Meander has no such sense of fun. But it offers some newish sights and shocks.
    • tbd Metascore
    • 80 Glenn Kenny
    Her Socialist Smile
    Her Socialist Smile, written, directed and shot by John Gianvito, is a fascinating and challenging exploration of Keller’s political thought.
    • 39 Metascore
    • 25 Glenn Kenny
    The Boss Baby: Family Business
    What chafes is not so much the vulgarity (although it is as relentless as it is unfunny) but the movie’s intractable infatuation with it.
    • tbd Metascore
    • 20 Glenn Kenny
    Some of Our Stallions
    No equine beasts adorn this queasy comedy. Too bad.
    • 82 Metascore
    • 90 Glenn Kenny
    Being a Human Person
    The revelation of Andersson’s method, his painstaking use of trompe l’oeil both painterly and cinematic, is fascinating enough. But the chronicle takes an unexpected turn.
    • tbd Metascore
    • 80 Glenn Kenny
    Lydia Lunch: The War Is Never Over
    Lunch’s entire aesthetic is centered around trauma: how abusers dispense it, how it is — and how she thinks it ought to be — received, and turned back on the world.
    • 45 Metascore
    • 50 Glenn Kenny
    Lansky
    Never as giddily awful as Gotti, this movie suffers more from a case of what film critic Andrew Sarris called “Strained Seriousness.” Except the ostensible seriousness here never runs particularly deep. Lansky is for Keitel completists only.
    • tbd Metascore
    • 70 Glenn Kenny
    Kenny Scharf: When Worlds Collide
    Scharf’s stories of meeting up with Haring (they were roommates for some time) are evocative and moving.
    • tbd Metascore
    • 70 Glenn Kenny
    Lourdes
    The movie also shows the volunteers and health care workers who look after the pilgrims during the devotional season. The movie allows these figures moments of frankness — there’s much about their jobs that’s tiring and unappetizing — but the viewer will be mostly impressed by their compassion.
    • 80 Metascore
    • 80 Glenn Kenny
    The Sparks Brothers
    The Sparks Brothers, an energetic documentary directed by Edgar Wright, explains their appeal in part by emphasizing how it cannot be explained.
    • tbd Metascore
    • 90 Glenn Kenny
    The French
    Klein weaves all these moments into a story one could call spectacularly earthbound.
    • tbd Metascore
    • 40 Glenn Kenny
    The Space Between
    This is one of those movies that never quite sinks to the risible depths you kind of wish it would.
    • 52 Metascore
    • 50 Glenn Kenny
    Queen Bees
    Each of these stalwarts bring more than charisma to their roles, and when the writing itself displays some snap (which admittedly isn’t that often) the performers bite right into it.
    • 49 Metascore
    • 50 Glenn Kenny
    Flashback
    And it mostly doesn’t quite work, because Fred, as written by MacBride and played by Dylan O’Brien, just isn’t a compelling character.
    • tbd Metascore
    • 30 Glenn Kenny
    Chasing Wonders
    In spite of its tidy running time, Chasing Wonders is diffuse and often limp.
    • 75 Metascore
    • 90 Glenn Kenny
    Undine
    Undine is ultimately more enigmatic than most of Petzold’s work. It is also, like its title character, eerily beautiful. While it could well serve as a high-end date movie, it’s also something more.
    • 70 Metascore
    • 75 Glenn Kenny
    Swimming Out Till the Sea Turns Blue
    If you’re not too conversant with the regions or works under consideration, the viewer has a choice of laboring to connect the dots unassisted, or just kicking back and letting the people and their recollections and philosophical reflections wash over you, like the sea of the movie’s title.
    • 25 Metascore
    • 20 Glenn Kenny
    American Traitor: The Trial of Axis Sally
    This is a plodding and ultimately infuriatingly noncommittal movie.
    • 52 Metascore
    • 30 Glenn Kenny
    Moby Doc
    What Moby leaves out of his account is as revealing as the tales of homelessness and addiction he puts in.
    • 76 Metascore
    • 88 Glenn Kenny
    Final Account
    The spirit of Claude Lanzmann, whose monumental Shoah remains a nonpareil cinematic text on the Holocaust, lingers over and around Final Account, a film assembled by Luke Holland around interviews he conducted beginning in 2008.
    • 68 Metascore
    • 70 Glenn Kenny
    Dream Horse
    This sports underdog story, which is based on true events, has several features endemic to the genre. But Dream Horse, an unabashed crowd-pleaser directed by Euros Lyn, earns its smiles and cheers.
    • 62 Metascore
    • 60 Glenn Kenny
    New Order
    Franco practically dares the viewer to call his conclusion far-fetched. And for better or worse, the director’s dynamic filmmaking makes some of his projections stick.
    • 54 Metascore
    • 25 Glenn Kenny
    Profile
    In Profile, the images mix real documentary footage with fictional social media and news organization posts. And meaning is elemental—a simplistic rush meant to induce viewer panic. While also being incredibly on-the-nose.
    • tbd Metascore
    • 60 Glenn Kenny
    Rockfield: The Studio on the Farm
    This stuff is best appreciated by rock mavens. Many of the other bands telling their stories (including the Boo Radleys and the Charlatans) didn’t have much of an impact in the States, so Anglophilia helps, too.
    • 71 Metascore
    • 70 Glenn Kenny
    The Perfect Candidate
    The movie’s lived-in acting and unhurried pace make it a better-than-palatable viewing experience.
    • 43 Metascore
    • 50 Glenn Kenny
    Silo
    The shooting is picturesque, the acting overbaked.
    • 57 Metascore
    • 70 Glenn Kenny
    Wrath of Man
    Ritchie reveals crucial story points with clever time-juggling editing, and keeps up the tension well into the movie’s climax, which delivers exactly what the viewer will have come to hope for.
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