Glenn Kenny

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Premiere, RogerEbert.com, The New York Times
For 1,916 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 0.5 points lower than other critics. (0-100 point scale)

Glenn Kenny's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Shadow
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
  1. Positive: 1,187 out of 1916
  2. Mixed: 470 out of 1916
  3. Negative: 259 out of 1916
1916 movie reviews
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    • 85 Metascore
    • 100 Glenn Kenny
    Nomad: In the Footsteps of Bruce Chatwin
    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.
    • 84 Metascore
    • 100 Glenn Kenny
    Kubo and the Two Strings
    The action is gorgeously fluid, the idiosyncratic 3-D visual conceits (including floating eyeballs undersea) are startling, and the story and its metaphors resolve in unexpected and moving ways.
    • 73 Metascore
    • 100 Glenn Kenny
    Art Spiegelman: Disaster Is My Muse
    Directed by Molly Bernstein and Philip Dolin, “Art Spiegelman: Disaster Is My Muse” is a remarkably cogent and compelling presentation not just of Spiegelman’s life story but also his personality and art.
    • 83 Metascore
    • 100 Glenn Kenny
    Field Niggas
    While the movie’s multiple images are never less than numinous, and its rhythms sometimes skirt the strangely seductive, this astonishing movie is the opposite of hypnotic.
    • 81 Metascore
    • 100 Glenn Kenny
    Shadow
    A martial-arts movie landmark, as strong in its performances as it is spectacularly novel in its violence.
    • 91 Metascore
    • 100 Glenn Kenny
    All the Beauty and the Bloodshed
    The compassion expressed here, and the rich complexity of everything the movie takes in, make this Poitras’ best film.
    • 88 Metascore
    • 100 Glenn Kenny
    Hard Truths
    Writer-director Mike Leigh is 81 years old, and his movies consistently have a fire that's practically adolescent while imparting a wisdom that's possibly ancient. "Hard Truths" is a tragi-comedy character study of near-febrile vitality. And, entering the sweepstakes rather late in the game, it's one of the very few great films of 2024.
    • 71 Metascore
    • 100 Glenn Kenny
    Black Book
    Black Book is Verhoeven's best film since "RoboCop": audacious, smart, shamelessly entertaining.
    • 85 Metascore
    • 100 Glenn Kenny
    Hale County This Morning, This Evening
    The filmmaker’s poetic logic is inextricable from his consciousness of race and community, and of his function and potential as an artist grappling with his own circumstances and those of the people he’s depicting. “Hale County This Morning, This Evening” is not a long film, but it contains whole worlds.
    • 75 Metascore
    • 100 Glenn Kenny
    By the Grace of God
    By the Grace of God is a rarity: An important film that’s also utterly inspired.
    • 85 Metascore
    • 100 Glenn Kenny
    April and the Extraordinary World
    Influences aside, the movie so teems with delightful detail and has such an exuberant sense of play that it feels entirely fresh.
    • 84 Metascore
    • 100 Glenn Kenny
    Mystic River
    Perhaps the greatest, most affecting articulation of the theme Eastwood has been exploring since 1990's "White Hunter Black Heart": how violence--real violence, not movie violence--perpetrated and experienced, can erode and/or obliterate the human soul.
    • 51 Metascore
    • 100 Glenn Kenny
    The Fountain
    As it happens, each one of these tales is also a love story, and The Fountain is Aronofsky’s profession of faith concerning love’s place in the idea of eternity. It’s a movie that’s as deeply felt as it is imagined.
    • 81 Metascore
    • 100 Glenn Kenny
    Under the Sun
    The movie raises disquieting questions, including a few that Mr. Mansky might not have meant to.
    • 78 Metascore
    • 100 Glenn Kenny
    Indignation
    Schamus’ commitment to a style, and to the material, yields potent results.
    • 80 Metascore
    • 100 Glenn Kenny
    Monrovia, Indiana
    Wiseman himself is also the last person who’d call his films “objective,” because they’re not. It’s more that their point of view is multi-faceted, sophisticated, connoting a point of view that’s deeply felt but not on-the-nose obvious.
    • 76 Metascore
    • 100 Glenn Kenny
    Asteroid City
    Asteroid City, his latest collaboration with cinematographer Robert Yeoman, may be the most incandescently beautiful of all their movies so far. Additionally, its emotional impact is substantial. Imagine a gorgeous butterfly landing on your heart and then squeezing on that heart with sharp pincers you never knew it had.
    • 79 Metascore
    • 100 Glenn Kenny
    Let the Sunshine In
    This is the touch of a cinematic master. Claire Denis is the writer and director of this film.
    • 94 Metascore
    • 100 Glenn Kenny
    Sideways
    Every performance here is wonderful, and the movie abounds in moments so true as to be cringe-worthy.
    • 81 Metascore
    • 100 Glenn Kenny
    In Fabric
    The film spaces out several nasty and effective frights. And as its narrative seems to deliberately devolve into a dissociative dream, even the funny material hits with a choke in the throat.
    • 82 Metascore
    • 100 Glenn Kenny
    Grand Theft Hamlet
    More than just a shaggy dog story, Grand Theft Hamlet is a pointed, entertaining and moving examination of interdisciplinary conductivity at its most surprising.
    • 90 Metascore
    • 100 Glenn Kenny
    Only Yesterday (1991)
    Like “Kaguya,” it functions as a highly sensitive and empathetic consideration of the situation of women in Japanese society—but it’s also a breathtaking work of art on its own.
    • 77 Metascore
    • 100 Glenn Kenny
    Private Fears in Public Places
    Resnais employs all the tools of studio-bound moviemaking, silent-era to post-modern, in a way that is not only is consistently dazzling in a purely visual sense, but contains an empathy that lifts the picture to tragic heights even at those points at which it seems practically weightless.
    • 67 Metascore
    • 100 Glenn Kenny
    Finding Neverland
    Depp and Winslet in particular are, as you might expect, immaculate. I don't think there's another actor alive who can convey the intermingling of gentleness and passion with as much precision as Depp.
    • 86 Metascore
    • 100 Glenn Kenny
    Vitalina Varela
    Vitalina Varela is socially conscious, but dreamlike, elegiac. And an inquiry, too, into the abilities and deficiencies of film as a medium to illuminate human consciousness and experience. It’s essential cinema.
    • 70 Metascore
    • 100 Glenn Kenny
    Life of Riley
    Everything in Life of Riley, Resnais makes plain, is a contrivance. Much of the joy and beauty of the movie comes from letting the levels of contrivance fall into place, as with some Rube Goldberg contraption, creating a parallel abstract narrative to the more conventional semi-farcical one unfolding on screen.
    • 87 Metascore
    • 100 Glenn Kenny
    Grizzly Man
    Herzog not only tells an incredible story but implies a dark metaphysic of the natural world that makes this film unsettlingly larger than its human subject.
    • 76 Metascore
    • 100 Glenn Kenny
    Ghostbox Cowboy
    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.
    • 90 Metascore
    • 100 Glenn Kenny
    Phantom Thread
    The movie is, of course, beautifully made. Anderson’s visual style is remarkable. Shooting the picture himself, reportedly, with the collaboration of lighting cameraman Michael Bauman, he frames in a Kubrick-inflected style but cuts with a Hitchcock-influenced one.
    • 88 Metascore
    • 100 Glenn Kenny
    Mr. SOUL!
    “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.
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