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
33% 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 76% The Ballad of Lefty Brown (2017) Pullman is always great to watch.‐ RogerEbert.com
Read More | Posted Dec 15, 2017
3/4 100% 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
75% 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
80% 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 53% 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
83% 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 67% 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 91% 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
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 85% 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 83% 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 77% 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
83% 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
92% 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
3/4 71% 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
58% 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
70% 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
81% 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
75% 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
94% 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 99% 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 79% 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
62% 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