Glenn Kenny Movie Reviews & Previews - Rotten Tomatoes

Glenn Kenny

Glenn Kenny
Glenn Kenny's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times, Premiere Magazine, RogerEbert.com, MSN Movies, Vanity Fair, MUBI

Movie Reviews Only

Rating T-Meter Title | Year Review
2.5/4 74% Small Town Crime (2018) The movie's tone never quite gels; it's too outlandish and cartoony to convince, but not so outlandish and cartoony that it takes off into a realm of over-the-top exhilaration.‐ RogerEbert.com
Read More | Posted Jan 20, 2018
1.5/4 No Score Yet Delirium (2018) [Martin] should look for better writers, to begin with.‐ RogerEbert.com
Read More | Posted Jan 19, 2018
18% Forever My Girl (2018) The lead actors are very pretty.‐ New York Times
Read More | Posted Jan 19, 2018
2.5/4 40% Den of Thieves (2018) Gudegast is clearly an avid student of heist pictures, and he layers this one with a lot of spectacular complications even while he muddles the average viewer's potential rooting interest.‐ RogerEbert.com
Read More | Posted Jan 18, 2018
86% The Final Year (2018) For much of its first hour, this movie is tepid and self-congratulatory, a quick-cutting advertisement for itself.‐ New York Times
Read More | Posted Jan 18, 2018
74% Mom and Dad (2018) As you can imagine, the homicidal frenzy gives Mr. Cage plenty of opportunity to go full him, which, in this case, doesn't yield as much fun as you might have hoped.‐ New York Times
Read More | Posted Jan 18, 2018
71% Beuys (2018) Even if you don't need Beuys justified or explained to you, the movie is an exhilarating portrait of a unique truth-teller.‐ New York Times
Read More | Posted Jan 16, 2018
23% Proud Mary (2018) Ms. Henson, ever simmering, takes Mary's moral conundrum very seriously. Her expressive eyes and nuanced body language work well for the character; she can put across a major change in attitude just by shifting a hip.‐ New York Times
Read More | Posted Jan 12, 2018
3/4 80% Vazante (2018) The languidly-paced picture has a staggering array of beautiful images and vistas.‐ RogerEbert.com
Read More | Posted Jan 12, 2018
92% Saturday Church (2018) It is a disarmingly and consistently sensitive movie that remains engaging even when its reach sometimes exceeds its grasp.‐ New York Times
Read More | Posted Jan 11, 2018
46% Freak Show (2018) Mr. Lawther is sympathetic and appealing as Billy, but Ms. Styler seems to mistake broad strokes for stylistic daring, and her colorful but diffuse movie never jells.‐ New York Times
Read More | Posted Jan 11, 2018
0% Acts of Violence (2018) It's too tasteful, if that's the word, to consistently exploit the more lurid implications of its sensationalist scenario. Which I suppose speaks well of the filmmakers as people. But not that well.‐ New York Times
Read More | Posted Jan 11, 2018
1.5/4 0% Stratton (2018) An aggressively unimposing movie such as this might not be the worst time-waster. But it's still a time-waster.‐ RogerEbert.com
Read More | Posted Jan 5, 2018
1.5/4 58% Django (2018) Django is for the most part everything Reinhardt's music was not: listless, glum and meandering.‐ RogerEbert.com
Read More | Posted Jan 5, 2018
80% Blame (2018) "Blame" is earnest but underdeveloped. At the same time, it's overdetermined and often overplayed.‐ New York Times
Read More | Posted Jan 4, 2018
36% Devil's Gate (2018) This is one of those horror movies that want to have it every way possible. It's not good, but it could pass muster among midnight-movie enthusiasts or curious stoners.‐ New York Times
Read More | Posted Jan 4, 2018
68% Happy End (2017) The movie belongs to Mr. Trintignant. ... he is both steely and vulnerable in a role in which he has almost no physical movements to perform.‐ New York Times
Read More | Posted Dec 21, 2017
69% Crooked House (2017) The superb cast provides mild pleasures, as do some aspects of the elaborate mystery itself.‐ New York Times
Read More | Posted Dec 21, 2017
76% Jumanji: Welcome to the Jungle (2017) The performances by Mr. Johnson, Mr. Hart and Mr. Black seem informed by the conviction that if they amuse themselves, they will also amuse others. They are not entirely wrong, but they are also not sufficiently right.‐ New York Times
Read More | Posted Dec 19, 2017
4/4 92% Phantom Thread (2018) Could be the filmmaker's most fascinatingly oblique work.‐ RogerEbert.com
Read More | Posted Dec 18, 2017
43% Permanent (2017) As Auralie, Ms. McLean is appealing and fresh-faced and could do well in a better coming-of-age movie in a few years.‐ New York Times
Read More | Posted Dec 17, 2017
2.5/4 79% The Ballad of Lefty Brown (2017) Pullman is always great to watch.‐ RogerEbert.com
Read More | Posted Dec 15, 2017
3/4 96% Birdboy: The Forgotten Children (Psiconautas, los niños olvidados) (2017) An oft-grisly and always visually dazzling allegorical fantasy that puts funny animals in a post-dystopian semi-wasteland.‐ RogerEbert.com
Read More | Posted Dec 15, 2017
83% Avatar (2009) Learning your visuals from Jack Kirby is one thing, but too often it sounds like Cameron learned to write dialogue from the guy too.‐ MUBI
Read More | Posted Dec 14, 2017
73% Beyond Skyline (2017) I remain "meh" on [Mr. Grillo], but I did admire this movie's near-lunatic genre-hopping.‐ New York Times
Read More | Posted Dec 14, 2017
82% Youth (Fang Hua) (2017) As a straight, sentimental melodrama, "Youth" works well. While there are a lot of conventional tropes, the cast enacts them with such fresh, tenderhearted sincerity that they regain some power.‐ New York Times
Read More | Posted Dec 14, 2017
92% Drag Me to Hell (2009) At what point does gleeful cynicism become so gleeful that it ceases to function as cynicism at all, and mutates into a blatant formalist trope of little emotional or intellectual resonance, but plenty of aesthetic...what's the word? Bliss?‐ MUBI
Read More | Posted Dec 13, 2017
82% Tropic Thunder (2008) Given the incoherence of its satirical aspirations (the film does end with a suggestion that everyone involved still loves this business we call show), and finally too scattershot to really make it as parody, Tropic Thunder is best appreciated as a goof.‐ MUBI
Read More | Posted Dec 13, 2017
94% The Dark Knight (2008) This may seem like faint praise, but about the highest compliment I can give Christopher Nolan's The Dark Knight right now is to say that there were many long stretches during which I didn't even realize it was a superhero movie‐ MUBI
Read More | Posted Dec 13, 2017
96% WALL-E (2008) Although Wall-E ends with a very apt and moving nod to City Lights, it is in fact Pixar's answer to Modern Times-both a bravura summation of everything the studio is great at and a "You ain't seen nothing yet!" statement of purpose. ‐ MUBI
Read More | Posted Dec 13, 2017
1.5/4 63% The Pirates of Somalia (2017) It's not as cute as it thinks it is.‐ RogerEbert.com
Read More | Posted Dec 8, 2017
1.5/4 0% November Criminals (2017) An ever-uneasy hybrid of teen angst tale and whodunit.‐ RogerEbert.com
Read More | Posted Dec 8, 2017
86% Bill Frisell, A Portrait (2017) The movie is at its liveliest when it depicts Mr. Frisell making his distinctive sound with a variety of colleagues. And, fortunately, Ms. Franz includes a lot of such footage.‐ New York Times
Read More | Posted Dec 5, 2017
2/4 65% The Tribes of Palos Verdes (2017) This is pretty standard stuff, and it's not always rendered too convincingly.‐ RogerEbert.com
Read More | Posted Dec 1, 2017
2/4 58% The New Radical (2017) This movie is reasonably well directed by Adam Bhala Lough, but it's far too dependent on and indulgent of its subjects.‐ RogerEbert.com
Read More | Posted Dec 1, 2017
3.5/4 90% The Other Side of Hope (Toivon tuolla puolen) (2017) The movie expands upon Kaurismäki's central mode of observation and delivers some trenchant, upsetting truths about the immigration experience from the side of those seeking asylum.‐ RogerEbert.com
Read More | Posted Dec 1, 2017
92% Shadowman (2017) The story is both repellent and strangely inspiring.‐ New York Times
Read More | Posted Nov 30, 2017
50% Love Beats Rhymes (2017) RZA's direction lacks visual personality, but he keeps the narrative moving and elicits strong performances from his cast.‐ New York Times
Read More | Posted Nov 30, 2017
44% The Dancer (La danseuse) (2016) "The Dancer" seems genuinely hostile to its subject, whose real-life accomplishments deserve better.‐ New York Times
Read More | Posted Nov 30, 2017
1.5/4 30% Wonder Wheel (2017) A Woody Allen disaster that elicits both a cocked head and a dropped jaw.‐ RogerEbert.com
Read More | Posted Nov 29, 2017
67% Eric Clapton: A Life in 12 Bars (2017) As a musical biography, this comes up short; it plays substantially better as a story of recovery and recovered integrity.‐ New York Times
Read More | Posted Nov 23, 2017
100% Cuba And The Cameraman (2017) In part because of its political blind spots, "Cuba and the Cameraman" is captivating. (Whatever you think of Mr. Alpert's perspective, it's interesting.)‐ New York Times
Read More | Posted Nov 23, 2017
3/4 86% Brimstone & Glory (2017) A movie that repays being seen on a big reflective screen, one on which the image is projected rather than one from which the image emanates.‐ RogerEbert.com
Read More | Posted Nov 22, 2017
100% Mr. Roosevelt (2017) Ms. Wells is appealing onscreen and is a smart writer.‐ New York Times
Read More | Posted Nov 21, 2017
3/4 84% The Divine Order (Die göttliche Ordnung) (2017) A conventional but exceptionally warm crowd-pleaser of a movie, mostly thanks to Leuenberger's performance.‐ RogerEbert.com
Read More | Posted Nov 17, 2017
2/4 78% Sweet Virginia (2017) All that said, the movie is well put together, enough so that if you're not entirely tired of its clichés, it might constitute a tolerable entertainment. I'd rather watch Double Indemnity for the 15th time.‐ RogerEbert.com
Read More | Posted Nov 17, 2017
86% Wet Woman in the Wind (Kaze ni nureta onna) (2017) Genre homage or not, trashy, assault-coddling sexism is a turn off - and worse.‐ New York Times
Read More | Posted Nov 16, 2017
93% The Breadwinner (2017) Harsh disappointments befall the characters, and they are depicted frankly, but in a way that encourages young viewers to form an affinity with the characters rather than cringe at terror.‐ New York Times
Read More | Posted Nov 16, 2017
85% Wonder (2017) "Wonder" is that rare thing, a family picture that moves and amuses while never overtly pandering.‐ New York Times
Read More | Posted Nov 16, 2017
2.5/4 19% Daddy's Home 2 (2017) I found the sequel better than the original-the writing sharper, the jokes fresher and smarter, the comic interaction between the lead characters consistently engaging.‐ RogerEbert.com
Read More | Posted Nov 10, 2017