Glenn Kenny

Select another critic »
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
view
per page
    • 99 Metascore
    • 100 Glenn Kenny
    Army of Shadows
    Composed of relatively few events and scenes, it's often excruciatingly tense and never less than heartbreakingly human. And as much as I admire "Munich," Shadows leaves Spielberg's film in the dust in the moral-ambiguity department. Never before seen in the States, it's already on my year's ten-best list. (April 2006 Premiere)
    • Premiere
    • 98 Metascore
    • 100 Glenn Kenny
    Pan's Labyrinth
    This intense film, a mix of horror, fantasy, and history that convinces on all those levels and mixes them up with dizzying brio, is a searing cinematic experience, a beautiful, terrifying vision from writer-director Guillermo del Toro.
    • 97 Metascore
    • 100 Glenn Kenny
    4 Months, 3 Weeks and 2 Days
    A remarkably engrossing and thoughtful picture, beautifully rendered in an artful mode of realism.
    • 96 Metascore
    • 100 Glenn Kenny
    Killer of Sheep
    Burnett creates an insistently poetic, devastatingly ironic world and work.
    • 96 Metascore
    • 100 Glenn Kenny
    Ratatouille
    The slapstick-comic set pieces involving Remy and Linguini's cooking struggles might solicit the admiration of Buster Keaton and Jacques Tati.
    • 94 Metascore
    • 100 Glenn Kenny
    Grave of the Fireflies (1988)
    The movie remains one of the most startling and moving animated films ever. It is also, with the likes of “The 400 Blows,” “Kes,” and “Vagabond,” one of the finest films about being young in an indifferent world.
    • 94 Metascore
    • 100 Glenn Kenny
    Sideways
    Every performance here is wonderful, and the movie abounds in moments so true as to be cringe-worthy.
    • 94 Metascore
    • 90 Glenn Kenny
    Chess of the Wind (1976)
    Aslani pulls story threads together with an elegant moving camera that doesn’t immediately give up all the secrets a scene may contain.
    • 94 Metascore
    • 88 Glenn Kenny
    Faces Places
    Agnes Varda is almost 90 years old and she is still making fantastic films. Searching, compassionate, provocative, funny, sad ones. This is one of them. You should see it, and then go dancing in the streets.
    • 94 Metascore
    • 100 Glenn Kenny
    The Lord of the Rings: The Return of the King
    A phantasmagorical slab of epic entertainment that satisfies on every conceivable level.
    • 93 Metascore
    • 100 Glenn Kenny
    Inside Llewyn Davis
    The most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it may be their best movie yet.
    • 93 Metascore
    • 100 Glenn Kenny
    The Burial Of Kojo
    The Burial of Kojo is a near-virtuoso work, a feast of emotion, nuance and beauty, and a startling feature directing debut.
    • 93 Metascore
    • 100 Glenn Kenny
    TÁR
    In the end, "TÁR" is not a diatribe or parable, but an interrogation, one that seeks to draw the viewers in, and compel them to consider their own place in the question.
    • 93 Metascore
    • 100 Glenn Kenny
    There Will Be Blood
    There Will Be Blood is, in fact, not a historical saga; rather, it's an absurdist, blackly comic horror film with a very idiosyncratic satanic figure at its core.
    • 93 Metascore
    • 100 Glenn Kenny
    Hard to Be a God
    A fantastical examination of man’s inhumanity to man, and as replete as it is with persistent visceral disgust, it also pulses with intelligence, a mordant compassion, and yes, incredible wit.
    • 93 Metascore
    • 100 Glenn Kenny
    No Bears
    No Bears is a picture that’s in keeping with his recent work—circumstances deemed that it just had to be—but one that breaks away from it in ways that yield a work of, yes, astonishment.
    • 92 Metascore
    • 90 Glenn Kenny
    Sunday's Illness
    The often-tense mother-daughter dance of recrimination and forgiveness is spectacularly acted.
    • 92 Metascore
    • 100 Glenn Kenny
    The Diving Bell and the Butterfly
    Every performer in the international cast -- Seigner, de Bankole, von Sydow (magnificent as Bauby's father), and the late Jean-Pierre Cassel to name but a few -- completely disappears into each of their roles, which I think is as much a testament to Schnabel's talents as to theirs.
    • 92 Metascore
    • 100 Glenn Kenny
    No Country for Old Men
    As stomach-churning a suspense exercise as the cinema has seen since the salad days of Hitchcock.
    • 92 Metascore
    • 88 Glenn Kenny
    Apocalypse Now: Final Cut
    As magnificent as the movie looks, sounds, and feels, this cut expands upon and unpeels the movie’s weaknesses both as story and meditation on Vietnam.
    • 92 Metascore
    • 100 Glenn Kenny
    Timbuktu
    A thoroughly remarkable and disquieting film from Mali’s Abderrahamane Sissako, Timbuktu is also a work of almost breathtaking visual beauty, but it manages to ravish the heart while dazzling the eye simultaneously, neither at the expense of the other. It’s a work of art that seems realized in an entirely organic way.
    • 92 Metascore
    • 90 Glenn Kenny
    Days
    Tsai’s motives for stretching his shots become clear after a while, and the film builds an uncanny mood.
    • 92 Metascore
    • 88 Glenn Kenny
    De Humani Corporis Fabrica
    These caretakers are all too human. The movie somehow turns that into a reason to admire them all the more.
    • 63 Metascore
    • 50 Glenn Kenny
    Blizzard of Souls
    “Blizzard” is almost immaculately shot and edited, but its good-taste approach to warfare, along with its treacly music score by Lolita Ritmanis, underscores what seems its main reason for being: a relentless “Go, Latvia!” agenda — which has extended to its marketing here.
    • 92 Metascore
    • 88 Glenn Kenny
    The Look of Silence
    Post-Holocaust discourse frequently used the phrase “Never Again” as a slogan, specifically referring to persecution of the Jews but also denoting a prohibition against barbarism; the events under consideration in these films are dispiriting reminders that human progress in this area has been meager at best.
    • 91 Metascore
    • 60 Glenn Kenny
    Gavagai
    This is a high-minded and carefully composed film about, among other things, the inability of words in any language to satisfactorily communicate states of being. There are pleasures and intellectual provocations to be had here. But its attempted effects fall flat a little too often.
    • 91 Metascore
    • 100 Glenn Kenny
    Lost in Translation
    This is one of the year's most subtly moving films, and a strong affirmation of Coppola's substantial talent.
    • 91 Metascore
    • 88 Glenn Kenny
    Ryuichi Sakamoto | Opus
    This is a terrific document and a testament.
    • 91 Metascore
    • 90 Glenn Kenny
    Ghost Tropic
    Beguiles and fascinates on several levels.
    • 54 Metascore
    • 63 Glenn Kenny
    Vacancy
    Vacancy could have been some sort of satirical masterpiece had this whole scenario been finally revealed as an extreme form of couple's therapy designed to get Beckinsale and Wilson back together.
prev
Page:

Top Trailers

See all »
See all trailers »