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

Movie Reviews Only

Rating T-Meter Title | Year Review
8% 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 85% 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 9% The Snowman (2017) A soggy, slushy mess.‐ RogerEbert.com
Read More | Posted Oct 19, 2017
57% 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 84% 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
75% 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 95% 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
76% 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
100% 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
10% 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 29% 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
67% 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
72% 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
83% 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
31% 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
69% 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
No Score Yet My Generation (2017) Thumbnail sketches of Pirate Radio, the Pill, London fashion and photography whiz by in a rush. It often comes off like a telly advert, but an expertly made one.‐ RogerEbert.com
Read More | Posted Sep 5, 2017
98% Three Billboards Outside Ebbing, Missouri (2017) McDonagh's most satisfying movie, a very juicy and resonant treat.‐ RogerEbert.com
Read More | Posted Sep 5, 2017
19% Woodshock (2017) Woodshock is the sort of thing that gives dilettantism a bad name.‐ RogerEbert.com
Read More | Posted Sep 3, 2017
56% The Leisure Seeker (2018) The movie is only willing to serve up its truths halfway. And I still teared up.‐ RogerEbert.com
Read More | Posted Sep 3, 2017
95% Brawl in Cell Block 99 (2017) This is an American film that's daring in potentially alienating ways. I was not alienated myself but rather disturbed and delighted.‐ RogerEbert.com
Read More | Posted Sep 2, 2017
91% Our Souls at Night (2017) The director here, Ritesh Batra, has a tendency to invest almost every shot with about 16-tons worth of portent, smothering the humanism that Redford and Fonda are working hard to put across.‐ RogerEbert.com
Read More | Posted Sep 2, 2017
41% Suburbicon (2017) There's a lot of entertainment value in the movie's bits, because Clooney is not only an excellent director of actors, he's got a great eye for shots and a good head for individual scenes.‐ RogerEbert.com
Read More | Posted Sep 2, 2017
26% Unlocked (2017) I suppose this went down easily enough for me because I grew up with this kind of stuff, and can surrender to it as a kind of cinematic comfort food. But still.‐ New York Times
Read More | Posted Aug 31, 2017
82% Jesus (2017) One feels the filmmaker trying hard to work out the inner struggles of his sad but largely unsympathetic characters. But his movie is as miserable and ultimately confounding as it is earnest.‐ New York Times
Read More | Posted Aug 31, 2017
21% Birth of the Dragon (2017) It wants to be a character study, an explication of martial arts philosophy and an action picture ... But the film never really gets fully juiced until the climax ...‐ New York Times
Read More | Posted Aug 25, 2017
1/4 43% Bushwick (2017) This movie will lose the goodwill of any longtime New Yorker watching it within the first ten minutes.‐ RogerEbert.com
Read More | Posted Aug 25, 2017
83% Polina (Polina, danser sa vie) (2017) If this film's directors, Valérie Müller and the French choreographer Angelin Preljocaj, don't offer much overt material on Polina's inner life, it's because they don't have to: the point of Polina, and this movie, is that her dancing is her being.‐ New York Times
Read More | Posted Aug 22, 2017
93% Clash (Eshtebak) (2017) "Clash" turns into a full-fledged horror movie, albeit one without the fake comfort of a supernatural or science-fiction pretext. It's just man's inhumanity to man, in full sway.‐ New York Times
Read More | Posted Aug 22, 2017
2/4 93% Gook (2017) There's not much to take away from the movie besides its sound and fury.‐ RogerEbert.com
Read More | Posted Aug 18, 2017
91% Marjorie Prime (2017) There's more going on in this movie's 90-plus minutes than in many summer blockbusters nearly twice its length.‐ New York Times
Read More | Posted Aug 17, 2017
88% The Wound (Inxeba) (2017) Mr. Trengove shoots the film in intimate wide-screen, getting in close to the performers as their characters tamp down explosive feelings, often letting the spectacular landscapes behind them break down into soft-focus abstractions.‐ New York Times
Read More | Posted Aug 15, 2017
2.5/4 69% Pilgrimage (2017) It's interesting as far as it goes, but you wish it would have gone farther.‐ RogerEbert.com
Read More | Posted Aug 11, 2017
1.5/4 34% The Only Living Boy in New York (2017) Wants to be a short story by Cheever or Updike or Roth but can't help but being what it inescapably is, an impotent cry of 'Yes I Can Do Literary' from a screenwriter whose idea of literary has been permanently Hollywoodized.‐ RogerEbert.com
Read More | Posted Aug 11, 2017
99% Whose Streets? (2017) This is direct and frequently powerful filmmaking that doesn't much care about meeting my aesthetic standards.‐ New York Times
Read More | Posted Aug 10, 2017
3.5/4 85% The Trip to Spain (2017) The Trip films constitute the only movie franchise that matters.‐ RogerEbert.com
Read More | Posted Aug 10, 2017
91% After Love (L'économie du couple) (2017) An irritating movie about irritating people.‐ New York Times
Read More | Posted Aug 8, 2017
3/4 100% It's Not Yet Dark (2017) Both heartbreaking and awe-inspiring.‐ RogerEbert.com
Read More | Posted Aug 4, 2017