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
No Score Yet 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 83% 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 86% 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 81% 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
80% 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
88% 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 17% 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
3/4 69% The Price (2017) Writer-director Onah, himself a Nigerian-born artist, understands Seyi through and through. His storytelling is simple but brisk and coherent.‐ RogerEbert.com
Read More | Posted Nov 10, 2017
100% Destination Unknown (2017) Their stories, intercut with archival footage over a brisk and frequently harrowing 81 minutes, build to a pitch of horror and sadness that eventually allows for a note or two of hope to sound.‐ New York Times
Read More | Posted Nov 9, 2017
74% No Stone Unturned (2017) What Mr. Gibney uncovers is grave and shocking and could make a viewer concerned for the safety of the filmmaker. But its presentation is flawed.‐ New York Times
Read More | Posted Nov 9, 2017
59% Murder On The Orient Express (2017) Bounces along in a way that's sometimes almost entertaining.‐ New York Times
Read More | Posted Nov 8, 2017
2.5/4 94% Gilbert (2017) The insights offered from the almost two-dozen show biz luminaries are not always commonplace, and Gottfried is always an interesting screen presence, even when he's far removed from his persona.‐ RogerEbert.com
Read More | Posted Nov 3, 2017
67% Along for the Ride (2017) As moving as Mr. de la Manitou's testimony sometimes is, this movie too often feels like a credulity-straining attempt at hagiography.‐ New York Times
Read More | Posted Nov 2, 2017
80% My Friend Dahmer (2017) This film is sensitively wrought. It's credible in its evocation of mid-'70s suburbia. The acting is excellent throughout, and Ross Lynch in the role of Dahmer elicits genuine sympathy for an increasingly lost but not yet monstrous soul.‐ New York Times
Read More | Posted Nov 2, 2017
71% Frank Serpico (2017) The star of the movie is a compelling figure, and Mr. D'Ambrosio presents quite a few people from Mr. Serpico's past who have a similar draw. But the director's filmmaking instincts are not always salutary.‐ New York Times
Read More | Posted Oct 31, 2017
1/4 29% All I See Is You (2017) All I See Is You seems extra-uniquely bad somehow.‐ RogerEbert.com
Read More | Posted Oct 27, 2017
96% Félicité (2017) Mr. Gomis's cinematic style is spectacularly multifaceted. The camerawork and cutting often have the fleetness of a documentary, but there's nothing sloppy about them.‐ New York Times
Read More | Posted Oct 26, 2017
3/4 99% God's Own Country (2017) A tricky movie, but not in a way that's dishonest.‐ RogerEbert.com
Read More | Posted Oct 25, 2017
92% Joan Didion: The Center Will Not Hold (2017) Ms. Didion's triumph, as a writer and a human being, has been to take the age for what it is, to pinpoint how she saw it, and to stick it out.‐ New York Times
Read More | Posted Oct 24, 2017
6% Tyler Perry's Boo 2! A Madea Halloween (2017) This movie finds Mr. Perry, never the most deft at the technical aspect of filmmaking, drastically off whatever his best game is.‐ New York Times
Read More | Posted Oct 20, 2017
2/4 88% Wheelman (2017) A little less than 90 minutes of annoyance.‐ RogerEbert.com
Read More | Posted Oct 20, 2017
3.5/4 98% BPM (Beats Per Minute) (120 battements par minute) (2017) Even if you consider yourself reasonably well-versed in the history, BPM is a kind of wake-up call, a cinematic alarm against complacency.‐ RogerEbert.com
Read More | Posted Oct 20, 2017
1.5/4 8% The Snowman (2017) A soggy, slushy mess.‐ RogerEbert.com
Read More | Posted Oct 19, 2017
63% Liberation Day (2017) [Its] withholding, intended to maintain Laibach's mystique, contravenes the ostensible documentary function of the movie.‐ New York Times
Read More | Posted Oct 18, 2017
No Score Yet L'enfant secret (1982) Part of Mr. Garrel's mastery is his ability to make expressive use of what would constitute dire technical flaws in other people's films.‐ New York Times
Read More | Posted Oct 17, 2017
2/4 83% Tom of Finland (2017) A heartfelt tribute to the artist. It's also a too-often diffuse one.‐ RogerEbert.com
Read More | Posted Oct 13, 2017
59% The Foreigner (2017) Mr. Chan is in his early 60s, and he doesn't deliver the action pizazz here that he used to. Nor, frankly, does he summon enough gravitas to be persuasive in the role of a grief-maddened father.‐ New York Times
Read More | Posted Oct 12, 2017
78% Thy Father's Chair (2017) Quiet and quietly moving ...‐ New York Times
Read More | Posted Oct 12, 2017
93% The Meyerowitz Stories (New and Selected) (2017) With this film, Mr. Baumbach has achieved a near-perfect balance between engagement and discomfort.‐ New York Times
Read More | Posted Oct 11, 2017
3.5/4 100% Faces Places (Visages, villages) (2017) As they make their way, sometimes merry, sometimes melancholy, a double-portrait of the artists forms. It's very moving.‐ RogerEbert.com
Read More | Posted Oct 6, 2017
3.5/4 96% The Death and Life of Marsha P. Johnson (2017) The movie reminds the viewer how far we've come, but also how far we have yet to go.‐ RogerEbert.com
Read More | Posted Oct 6, 2017
77% Una (2017) [Ms. Mara and Mr. Mendelsohn's] performances are tightly focused and unflinching; too bad they are surrounded by a lot of heavy-handed, poorly aimed cinematic showing off.‐ New York Times
Read More | Posted Oct 5, 2017
98% Dina (2017) They are a sweet couple whom you want to root for, and their conditions and circumstances have imbued them with personalities that some might perceive as quirky.‐ New York Times
Read More | Posted Oct 5, 2017
18% Overdrive (2017) The car chases are O.K., but not O.K. enough.‐ New York Times
Read More | Posted Oct 5, 2017
5% Flatliners (2017) This Flatliners is in fact a new definition of "meh."‐ New York Times
Read More | Posted Sep 29, 2017
3/4 76% Take Every Wave: The Life of Laird Hamilton (2017) A character study more than anything else.‐ RogerEbert.com
Read More | Posted Sep 29, 2017
0/4 26% Literally, Right Before Aaron (2017) Boring, trite, sexist tripe that wants to make the viewer empathize with a guy who's actually pretty aggressive in his pursuit of loserdom.‐ RogerEbert.com
Read More | Posted Sep 29, 2017
3/4 100% Unrest (2017) This is jaw-dropping stuff, made more profoundly disturbing by the fact that so little is known about the disease.‐ RogerEbert.com
Read More | Posted Sep 22, 2017
96% Stronger (2017) "Stronger" takes more artistic risks than any other American-made "inspired by true events" picture I can recall.‐ New York Times
Read More | Posted Sep 21, 2017
65% Victoria & Abdul (2017) In the shift from comedy to drama the movie goes wobbly. The narrative of cross-cultural understanding by way of individual affinity is a comforting but ultimately dubious one.‐ New York Times
Read More | Posted Sep 21, 2017
75% Gaga: Five Foot Two (2017) While it's possible that the director and cinematographer Chris Moukarbel is good at withholding unflattering material, Gaga comes off well, and credibly so: intelligent, an accomplished craftswoman, a well-mannered collaborator and boss.‐ New York Times
Read More | Posted Sep 21, 2017
0/4 51% Kingsman: The Golden Circle (2017) 'Enough,' one thinks, but 'enough' does not exist in the philosophy of this movie.‐ RogerEbert.com
Read More | Posted Sep 20, 2017
100% The Future Perfect (El futuro perfecto) (2016) There is gentle comedy here, and a real rooting interest deriving from Ms. Zhang's committed, never-a-false-note performance. The film's unusual perspective makes it a distinctive and potentially enriching experience.‐ New York Times
Read More | Posted Sep 13, 2017
78% Nobody's Watching (Nadie nos mira) (2017) "Nobody's Watching" addresses immigration issues head on, but it's more about being set existentially adrift.‐ New York Times
Read More | Posted Sep 7, 2017
48% Year by the Sea (2017) The movie is not entirely my cup of tea, although it is refreshing in its depiction of diverse, older female characters.‐ New York Times
Read More | Posted Sep 7, 2017
29% Rebel in the Rye (2017) While "Rebel in the Rye" isn't quite as bad as its pile-of-bricks-clunky title suggests, it's both simple- and literal-minded ...‐ New York Times
Read More | Posted Sep 7, 2017
68% mother! (2017) A hallucination that's also an angry cry about the state of this world, but most importantly, a cinematic experience of unique proportions.‐ RogerEbert.com
Read More | Posted Sep 6, 2017