David Denby

David Denby

Agrees with the Tomatometer 72% of the time.

New York Magazine/Vulture , New Yorker
Critics' Group:
National Society of Film Critics, New York Film Critics Circle
Total Reviews:

Listing Of All Reviews & Articles

Showing 1 - 50 of 578
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Rating T-Meter Title | Year Add Date
94% Last Days in Vietnam (2014) " As a portrait of America in a moment both of idealism and betrayal, the movie is heartbreaking as well as inspiring." — New Yorker
Posted Sep 15, 2014
60% The Disappearance of Eleanor Rigby (2014) " What remains is knowing and allusive, but muffled-the earnestness is stalled by pauses and misgivings and occasionally made handsome with long tracking shots." — New Yorker
Posted Sep 15, 2014
53% Bird People (2014) " An artful experiment that only half works." — New Yorker
Posted Sep 15, 2014
87% The Trip To Italy (2014) " This hedonistic japery is shot through with middle-aged melancholy and the fear of death." — New Yorker
Posted Sep 5, 2014
76% The Congress (2014) " The anger drains out of the picture, and we watch in a state of passive appreciation and indifference." — New Yorker
Posted Sep 5, 2014
78% Get On Up (2014) " Chadwick Boseman gives a startling and galvanic performance." — New Yorker
Posted Sep 5, 2014
82% Begin Again (2014) " Another sappy but engaging musical fable from the Irish writer and director John Carney, who made "Once."" — New Yorker
Posted Jul 14, 2014
79% Land Ho! (2014) " A well-meaning, good-souled, essentially naïve dud." — New Yorker
Posted Jul 14, 2014
95% Snowpiercer (2014) " Violent, often absurd, but full of brilliant surprises." — New Yorker
Posted Jul 14, 2014
77% Whitey: United States of America v. James J. Bulger (2014) " Complicated beyond imagining, and, in the end, a genuine shocker." — New Yorker
Posted Jun 30, 2014
84% 22 Jump Street (2014) " 22 Jump Street is hardly fresh, but the picture has enough energy to get by." — New Yorker
Posted Jun 18, 2014
24% Third Person (2014) " Third Person is the kind of eccentric and emotionally exhausting movie whose ardent sincerity remains in memory after smoother, more conventional works have passed into oblivion." — New Yorker
Posted Jun 18, 2014
86% Five Easy Pieces (1970) " The movie has more anger than it knows what to do with; that's its fascination and its weakness, too." — New Yorker
Posted Jun 16, 2014
98% The Rules of the Game (1950) " The word "Mozartean"... gets thrown around a little too eagerly by critics, but one movie, as almost everyone agrees, deserves this supreme benediction -- Jean Renoir's The Rules of the Game." — New Yorker
Posted Jun 3, 2014
86% Night Moves (2014) " What interests Reichardt is the physical realization of how the act is done; her feeling for the weight and the palpability of the world, and for continuity within sequences, has become masterly." — New Yorker
Posted Jun 2, 2014
85% Korengal (2014) " As a record of the war, the two films are imperishable." — New Yorker
Posted May 26, 2014
86% Cold in July (2014) " Strictly for connoisseurs of violent genre pulp." — New Yorker
Posted May 26, 2014
95% Germania Anno Zero (Germany Year Zero) (1949) " The colossal rubble of Berlin is not just an analogue to the collapse of the social order but an amazing sight, and the movie makes you feel the weight of every smashed façade and fallen stone." — New Yorker
Posted May 20, 2014
83% Belle (2014) " Factually, the movie is probably a fraud, but it's crisply entertaining ..." — New Yorker
Posted May 19, 2014
34% God's Pocket (2014) " Slattery goes for lower-depths naturalism, including extensive scenes in a neighborhood bar, and then tries, without sufficient brio, to transform the misery into black comedy." — New Yorker
Posted May 12, 2014
96% Blue Ruin (2014) " Saulnier spills a lot of blood, but he's an extraordinarily responsible and appealing craftsman." — New Yorker
Posted May 5, 2014
19% Transcendence (2014) " The movie is rhythmless, shapeless, and, with the exception of a few shots, cheesy-looking." — New Yorker
Posted May 5, 2014
62% Draft Day (2014) " Ivan Reitman's dull-witted movie about the flurries of player trading on N.F.L. draft day might be a commercial for professional football." — New Yorker
Posted Apr 21, 2014
90% In the Mood for Love (2001) " So skillfully does the director brings us to a state of breathless expectation that when he refuses to deliver the goods he almost seems to have invented a new form of perversion." — New Yorker
Posted Apr 15, 2014
66% The Railway Man (2014) " A morally admirable but dramatically inert case of high-minded reconciliation ..." — New Yorker
Posted Apr 14, 2014
76% 8 Mile (2002) " In the tradition of Rocky and Fever, the movie is a shrewdly engineered piece of proletarian pop -- a story of triumph -- but, like Eminem's enraged lyrics, 8 Mile has its own kind of vile candor." — New Yorker
Posted Apr 7, 2014
59% Dom Hemingway (2014) " Law, saying farewell to his youthful good looks (Dom has scars and a little too much weight), makes this hyper-articulate ruffian the most intricately soulful character in current movies." — New Yorker
Posted Apr 7, 2014
77% Noah (2014) " In a single sequence, Aronofsky combines creationism, Darwinian evolution, original sin, the end of days, and radical environmentalism." — New Yorker
Posted Apr 7, 2014
60% Nymphomaniac: Volume II (2014) " The movie, a descendant of such eighteenth-century libertine texts as "Thérèse Philosophe," is less a slice of life than something told and chewed over." — New Yorker
Posted Apr 7, 2014
89% Captain America: The Winter Soldier (2014) " The new franchise effort from Marvel charges through hyperkinetic chases and combat, though with slightly less finesse than its predecessor, "Captain America: The First Avenger."" — New Yorker
Posted Mar 31, 2014
75% Nymphomaniac: Volume I (2014) " A pornographic work of art-obsessive, repetitive, at times remarkably eccentric, but never simple-minded or dull." — New Yorker
Posted Mar 24, 2014
92% The Grand Budapest Hotel (2014) " The opéra-bouffe plot serves as a strand of bright golden wire on which Anderson hangs innumerable encounters, scampering chases, and an archly decorative style of commentary." — New Yorker
Posted Mar 10, 2014
60% Non-Stop (2014) " Neeson, who brings enormous conviction to these late-career action roles, moves his big body through confined spaces ... with so much power that you expect him to rip out the seats." — New Yorker
Posted Mar 3, 2014
93% Hannah and Her Sisters (1986) " Allen weaves together the complex narrative strands with ease, punctuating the many variations on betrayal and love with three festive Thanksgiving dinners." — New Yorker
Posted Feb 10, 2014
93% About a Boy (2002) " The directors Paul and Chris Weitz -- the American Pie brothers -- have tried hard not to make a tearjerker, and at its best the movie is knowing and tart." — New Yorker
Posted Feb 10, 2014
61% Generation War (2014) " In all, "Generation War" has the strengths and weaknesses of middlebrow art-it may be clunky, even embarrassing, but it's certainly never dull." — New Yorker
Posted Feb 3, 2014
99% Gloria (2014) " The film grows in power-it's unnerving and reassuring at the same time." — New Yorker
Posted Jan 21, 2014
76% Gladiator (2000) " Ridley Scott thrusts us so close to the combat that all we see is a lot of whirling and thrashing, a sword thrust here and there, a spurt of blood, a limb severed. There's hardly a scene that is cleanly and coherently staged in open space." — New Yorker
Posted Jan 8, 2014
75% Lone Survivor (2014) " The director Peter Berg's exciting and harrowing re-creation of an actual operation that took place in Afghanistan, in 2005." — New Yorker
Posted Jan 6, 2014
76% The Invisible Woman (2013) " Fiennes and the screenwriter, Abi Morgan, have mounted an accurate re-creation of Victorian England, but the affair isn't much of a story-at least, not as realized here." — New Yorker
Posted Jan 6, 2014
64% August: Osage County (2013) " The director John Wells's adaptation of Tracy Letts's play sits awkwardly on the screen." — New Yorker
Posted Jan 6, 2014
77% The Wolf of Wall Street (2013) " Wolf is delivered, almost all the way through, at the same pitch of extreme aggression. It's relentless, deafening, deadening, and, finally, unilluminating." — New Yorker
Posted Dec 23, 2013
93% American Hustle (2013) " American Hustle offers so many easy pleasures that people may not think of it as a work of art, but it is. In the world that Russell has created, if you don't come to play you're not fully alive." — New Yorker
Posted Dec 11, 2013
53% Out of the Furnace (2013) " The movie has an undeniable, dour force, but it's basically conventional macho filmmaking, and it's extremely violent." — New Yorker
Posted Dec 9, 2013
42% Homefront (2013) " The screenplay for this violent retro schlock was written by Sylvester Stallone, and the movie feels like something out of the early eighties." — New Yorker
Posted Dec 2, 2013
93% Princess Mononoke (Mononoke-hime) (1999) " This handsome, beautifully designed Japanese animated film has the size -- though not the clarity -- of a great Japanese film epic." — New Yorker
Posted Nov 27, 2013
89% Shrek 2 (2004) " The movie is obvious, but consistently entertaining and animated in DreamWorks's "realistic" digitized style." — New Yorker
Posted Nov 25, 2013
86% At Berkeley (2013) " No other filmed portrait of higher education matches this one for hard-nosed insight, comprehensiveness, sympathy, and hope." — New Yorker
Posted Nov 25, 2013
46% The Book Thief (2013) " Markus Zusak's enormously successful young-adult novel seems to have been adapted as a movie for middle-aged children." — New Yorker
Posted Nov 25, 2013
89% The Hunger Games: Catching Fire (2013) " The grand climax, whose elements include a long piece of wire, a lightning bolt, and an electronic force field, is an incoherent, rapid blur that will send the audience scurrying back to the book to find out what's supposed to be going on." — New Yorker
Posted Nov 21, 2013
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