Glenn Whipp

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Los Angeles Times
For 73 reviews, this critic has graded:
  • 64% higher than the average critic
  • 1% same as the average critic
  • 35% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Glenn Whipp's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Love & Friendship
Lowest review score: 10 The Only Living Boy in New York
Score distribution:
  1. Positive: 47 out of 73
  2. Mixed: 19 out of 73
  3. Negative: 7 out of 73
73 movie reviews
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    • 96 Metascore
    • 90 Glenn Whipp
    Summer of Soul (...Or, When the Revolution Could Not Be Televised)
    You may know Thompson as a member of the Roots and as the musical director for “The Tonight Show Starring Jimmy Fallon.” If you’ve read his book, “Mo’ Meta Blues: The World According to Questlove,” you’re aware that he’s also inquisitive and a first-rate music geek, making him the perfect person to crate-dig through the musical and cultural history documented in this film. His respect and enthusiasm for the material jumps off the screen.
    • 93 Metascore
    • 100 Glenn Whipp
    David Byrne’s American Utopia
    American Utopia arrives 36 years after Jonathan Demme’s “Stop Making Sense,” which documented three shows the Talking Heads played at Hollywood’s Pantages Theater in 1983 and just might be the greatest concert movie ever made. Until, that is, American Utopia. Rank them 1A and 1B.
    • 91 Metascore
    • 100 Glenn Whipp
    Anora
    Baker wrote the part for her, and Madison returned the favor with a star-making performance, leaning into Ani’s audacity while revealing the fragile façade, the vulnerabilities and self-deception lurking underneath.
    • 89 Metascore
    • 100 Glenn Whipp
    Minari
    For all the struggle that takes place in this movie, it is its quiet grace that you most remember. Minari shares its secrets with a whisper, and as it unfolds, you find yourself leaning into it, enraptured.
    • 88 Metascore
    • 90 Glenn Whipp
    Hell or High Water
    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.
    • 87 Metascore
    • 100 Glenn Whipp
    Love & Friendship
    Love & Friendship is, first and foremost, a master class on the art of comic timing, in its filmmaking and acting.
    • 80 Metascore
    • 90 Glenn Whipp
    The Sparks Brothers
    If you care about Sparks, this movie is heaven, a long-overdue answer to the group’s 1994 song “When Do I Get to Sing ‘My Way.’” (With this doc, Ron and Russell have to feel, at least a little bit, “like Sinatra felt.”) If you don’t know about Sparks, Wright has created an introduction that gleefully demolishes any barrier you might think you have toward their music.
    • 80 Metascore
    • 90 Glenn Whipp
    You Hurt My Feelings
    Yes, You Hurt My Feelings explores the incident of its title and the risks and limits of total honesty in a relationship. But it’s also a funny and incisive look at middle-age malaise
    • 80 Metascore
    • 100 Glenn Whipp
    We the Animals
    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.
    • 80 Metascore
    • 70 Glenn Whipp
    David Crosby: Remember My Name
    Crosby’s spirit remains vital, and he’s determined to fly that freak flag into that good night.
    • 71 Metascore
    • 80 Glenn Whipp
    Stolen Seas
    What really elevates the film, though, is the crucial context that Payne provides to explain — but not justify — the pirates' actions.
    • 78 Metascore
    • 80 Glenn Whipp
    If I Had Legs I'd Kick You
    The magic trick of If I Had Legs I’d Kick You is that you find yourself caring deeply for Linda, thanks to Byrne’s vivid, impassioned performance. You can’t shake her.
    • 77 Metascore
    • 80 Glenn Whipp
    Urchin
    Dickinson’s first feature is so assured in every other regard that you can give him a pass for these interludes. Urchin establishes him as a filmmaker to watch: a storyteller willing to look at a thorny subject and admit that there are no easy answers.
    • 77 Metascore
    • 80 Glenn Whipp
    We Feed People
    It’s easy to give in to despair. What We Feed People makes clear is that you can help with a simple, small act of empathy.
    • 76 Metascore
    • 90 Glenn Whipp
    Miles Davis: Birth of the Cool
    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.
    • 70 Metascore
    • 70 Glenn Whipp
    Herblock: The Black & the White
    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.
    • 75 Metascore
    • 80 Glenn Whipp
    The Battered Bastards of Baseball
    The joy on display here is contagious.
    • 75 Metascore
    • 90 Glenn Whipp
    A House of Dynamite
    Bigelow making a movie in which most of the story takes place in rooms full of people talking would seem like a misuse of the talents of one of our great action directors. It’s not. A House of Dynamite is a tightly wound dynamo, elevated by her production team.
    • 74 Metascore
    • 70 Glenn Whipp
    Jawline
    Jawline provides an evenhanded examination of celebrity and loneliness in the digital age.
    • 74 Metascore
    • 70 Glenn Whipp
    Farewell
    Farewell offers intrigue, simmering tension.
    • 74 Metascore
    • 70 Glenn Whipp
    Circus of Books
    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.
    • 73 Metascore
    • 80 Glenn Whipp
    Filmworker
    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.
    • 73 Metascore
    • 80 Glenn Whipp
    The Fall Guy
    You expect that the film will boast exceptional stuntwork — and it does. At its best, though, it’s a romantic comedy that coasts on the charisma of its two appealing leads, Ryan Gosling and Emily Blunt.
    • 73 Metascore
    • 70 Glenn Whipp
    Bruce Springsteen's Letter to You
    Throughout the film, Springsteen lavishes his bandmates with praise (“they can float like a butterfly and sting like a bee”) in voiceover segments that feel a bit more shopworn than when he unleashes them from the stage. But when Zimny lets the images speak for themselves, “Letter to You” achieves a moving power.
    • 72 Metascore
    • 90 Glenn Whipp
    CODA
    Because Heder — whose previous work includes the Netflix series “Orange Is the New Black” and “Glow” and feature “Tallulah” — is so adept at establishing the emotional bonds between the film’s close-knit family, the presence of all these conventions doesn’t matter.
    • 71 Metascore
    • 70 Glenn Whipp
    The Booksellers
    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.”)
    • 69 Metascore
    • 80 Glenn Whipp
    The Miseducation of Cameron Post
    In its own modest way, it’s one of the year’s bravest films.
    • 68 Metascore
    • 70 Glenn Whipp
    The Origin of Evil
    Marnier could have taken another pass at the film’s secondary characters (the upcoming thriller “Saltburn” has the same problem with its dysfunctional clan), and whatever notions he’s trying to put across about the patriarchy don’t quite land. But he has a star in the sparkling Calamy.
    • 68 Metascore
    • 70 Glenn Whipp
    Icarus
    Even if you’re familiar with the facts, Icarus casts the depth of deception with an immediacy that’s often astounding.
    • 68 Metascore
    • 60 Glenn Whipp
    Friedkin Uncut
    Director Francesco Zippel doesn’t challenge Friedkin, letting him spin his life’s work as he pleases.
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