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
94% Lots of Kids, a Monkey and a Castle (Muchos hijos, un mono y un castillo) (2017) [A] frank and affectionate portrait...‐ New York Times
Read More | Posted Dec 13, 2018
89% Ghostbox Cowboy (2018) A scary, dryly funny dissection of entrepreneurial absurdism bleeding into existential and metaphysical despair.‐ New York Times
Read More | Posted Dec 13, 2018
No Score Yet That Way Madness Lies... (2018) If this is a subject matter that has touched your life even minimally, you ought to see this movie.‐ New York Times
Read More | Posted Dec 13, 2018
100% Never-Ending Man: Hayao Miyazaki (2018) It's never boring but a trifle diffuse. If you're a Miyazaki fan, you'll want to see it anyway.‐ New York Times
Read More | Posted Dec 13, 2018
3/4 91% Divide and Conquer: The Story of Roger Ailes (2018) This is one action-packed doc, so to speak, replete with eyebrow-raising factual tidbits.‐ RogerEbert.com
Read More | Posted Dec 7, 2018
67% Asher (2018) Unfortunately the pace is so relaxed as to be meandering; and Jay Zaretsky's screenplay is cliché-packed...‐ New York Times
Read More | Posted Dec 6, 2018
57% The Great Pretender (2018) The energetically crafted, well-acted movie about characters one would go to considerable extremes to avoid in real life is turning into a veritable indie micro-genre.‐ New York Times
Read More | Posted Dec 6, 2018
71% The Party's Just Beginning (2018) Gillan plays her messy, mournful role with unfussy integrity.‐ New York Times
Read More | Posted Dec 6, 2018
No Score Yet Electro-Pythagorus: A Portrait of Martin Bartlett (2017) Fowler... tries to imbue his work with a numinous quality reflective of the subject's work and aesthetic.‐ New York Times
Read More | Posted Nov 29, 2018
53% Mowgli: Legend of the Jungle (2018) The filmmakers are clearly trying to bring an uncommon maturity to the fantasy film, and in many respects they succeed. While not everything here works, what does is impressive.‐ New York Times
Read More | Posted Nov 28, 2018
100% Rams (2018) This film adheres to Rams's aesthetics by being brisk, matter of fact, well lighted and composed of clean lines, metaphorically speaking.‐ New York Times
Read More | Posted Nov 27, 2018
3/4 95% Becoming Astrid (Unga Astrid) (2018) This film about an exemplary woman, made by women, is as much a pleasure as it is a lesson.‐ RogerEbert.com
Read More | Posted Nov 23, 2018
No Score Yet The Inquiring Nuns (1968) Shot in a rudimentary but pleasingly grainy black-and-white, with hypnotic organ music from Philip Glass (his first credited feature-length film score), this hourlong picture is a delight.‐ New York Times
Read More | Posted Nov 22, 2018
16% Robin Hood (2018) The plot is twisty in a perfunctory way, the action predictably explosive, the sought-after exhilaration nonexistent.‐ New York Times
Read More | Posted Nov 20, 2018
3/4 65% Jonathan (2018) Ansel Elgort's wonderful performance does appropriate honor to the ambiguity the movie is trucking in.‐ RogerEbert.com
Read More | Posted Nov 16, 2018
81% Instant Family (2018) Every hurt gets a balm applied real quick, the better to get to the next classic-rock-scored feel-good montage.‐ New York Times
Read More | Posted Nov 15, 2018
No Score Yet Miss Dalí (2018) Relentless, spell-it-all-out dialogue is wedded to a clunky visual approach that's pretty much the cinema equivalent of a wikiHow entry.‐ New York Times
Read More | Posted Nov 15, 2018
93% The Last Race (2018) Auto racing is noisy and not great for the environment. But it's also responsible for a lively, eccentric culture. The director of this brisk documentary, Michael Dweck, clearly considers it lively and eccentric...‐ New York Times
Read More | Posted Nov 15, 2018
1/4 22% River Runs Red (2018) It takes a vitally serious subject and makes such a relentlessly dumb hash of it.‐ RogerEbert.com
Read More | Posted Nov 9, 2018
74% Chef Flynn (2018) "Chef Flynn" is an engaging documentary about McGarry's boy-to-man journey, which concludes as he prepares to open his own restaurant in Manhattan.‐ New York Times
Read More | Posted Nov 8, 2018
100% Infinite Football (2018) This relatively short film contains worlds.‐ New York Times
Read More | Posted Nov 8, 2018
57% The Grinch (2018) While ostensibly explaining how the Grinch got so Grinch-like, it also inclines the viewer to raise other questions. How did he score that mountaintop mansion? What's with the elaborately twisted pipe organ?‐ New York Times
Read More | Posted Nov 7, 2018
22% Nobody's Fool (2018) If the movie's looseness lets in an excess of dead air, "Nobody's Fool" is still dotted with pleasures besides those Haddish brings.‐ New York Times
Read More | Posted Nov 2, 2018
3/4 91% They'll Love Me When I'm Dead (2018) The movie can't help but portray [Welles] as an inspired and inspiring figure.‐ RogerEbert.com
Read More | Posted Nov 2, 2018
No Score Yet 9 Fingers (9 doigts) (2017) Some striking scenes notwithstanding, this movie doesn't achieve the delirium it aspires to. It's often flat and tame, and obvious in the wrong ways...‐ New York Times
Read More | Posted Nov 1, 2018
92% Searching for Ingmar Bergman (Ingmar Bergman - Vermächtnis eines Jahrhundertgenies) (2018) Because Bergman's auteur status is frequently coded as patriarchal, seeing him and his work though the lens of a female filmmaker is salutary.‐ New York Times
Read More | Posted Nov 1, 2018
4/4 86% Monrovia, Indiana (2018) Wiseman's portrait reveals emptiness that's subtle and unforced but becomes devastating.‐ RogerEbert.com
Read More | Posted Oct 26, 2018
3/5 37% Hunter Killer (2018) Storytelling is both serviceable and refreshingly non-reliant on the chaotic cutting that distinguishes so much contemporary action fare.‐ AARP Movies for Grownups
Read More | Posted Oct 25, 2018
97% Border (Gräns) (2018) As cold as possible is a good way to see it. This is a movie that aims to startle in overt and subtextual ways; the less known before viewing, the better.‐ New York Times
Read More | Posted Oct 25, 2018
93% 1985 (2018) A moving cinematic sketch of a HIV-infected man living through the height of the plague.‐ New York Times
Read More | Posted Oct 25, 2018
1.5/4 53% An Evening with Beverly Luff Linn (2018) A stab at absurdism that results in a swampy wallow in affectation.‐ RogerEbert.com
Read More | Posted Oct 19, 2018
94% Wildlife (2018) The whole of the film is a potent collaboration in every respect, and a remarkable directorial debut.‐ New York Times
Read More | Posted Oct 18, 2018
57% Caniba (2018) I consider Sagawa repellent, and the movie an exercise in intellectualized scab-picking.‐ New York Times
Read More | Posted Oct 18, 2018
88% Horn From the Heart: The Paul Butterfield Story (2018) In terms of production values, this is not a snazzy film. But the interview footage with family and colleagues, including Bonnie Raitt and Elvin Bishop, an early Butterfield guitarist, is smart and thorough.‐ New York Times
Read More | Posted Oct 16, 2018
2/4 22% Bigger (2018) As relatively handsomely mounted as this movie is, it's also kind of a shambles.‐ RogerEbert.com
Read More | Posted Oct 12, 2018
1.5/4 74% Bad Times at the El Royale (2018) An unfortunately apt demonstration of what can befall a clever filmmaker who gets too clever.‐ RogerEbert.com
Read More | Posted Oct 12, 2018
60% The Oath (2018) Mr. Barinholtz has enough cachet to assemble an excellent cast, although he's not as canny about using it.‐ New York Times
Read More | Posted Oct 11, 2018
91% All Square (2018) Kelly is a king among mordant underplayers. Yulin, a stalwart character actor, is reliably terrific. Adlon and Josh Lucas bring added value to their also-familiar characters.‐ New York Times
Read More | Posted Oct 11, 2018
88% Barbara (2017) Mr. Amalric plays Yves as a still-besotted fan of Barbara, and as a director he's a still-besotted fan of Ms. Balibar's. He is wise in his enthusiasms.‐ New York Times
Read More | Posted Oct 11, 2018
3.5/4 79% 22 July (2018) 22 July is at its most engrossing and moving in its depiction of one brave kid, a victim of Breivik who was shot five times and lived, and that kid's eventual resolve to face the terrorist in court.‐ RogerEbert.com
Read More | Posted Oct 10, 2018
28% Venom (2018) The ingratiating eccentricities of "Venom" aren't enough to really distinguish the movie from its superhero-movie brethren as it devolves into the usual expensive orgy of sound, fury and wisecracking.‐ New York Times
Read More | Posted Oct 4, 2018
100% Wajib (2017) Ms. Jacir is a thrifty filmmaker; there's nothing frilly in this movie. But she is also a sensitive and imaginative and resourceful one.‐ New York Times
Read More | Posted Oct 4, 2018
89% Studio 54 (2018) The movie is a fast account that is sometimes a tad facile in its analysis of a cultural moment. But as Mr. Schrager's personal too-much-too-soon story, it's compelling.‐ New York Times
Read More | Posted Oct 4, 2018
No Score Yet Above And Beyond: NASA's Journey To Tomorrow (2018) This is not a spectacular picture, but it's an informative and heartening one...‐ New York Times
Read More | Posted Oct 4, 2018
2/4 No Score Yet The Padre (2018) In a sense it's pleasant to see Nolte, Roth and Guzmán settling into their roles as if they were old slippers, but these great performers aren't completely outfitted to settle for Greatest Hits work.‐ RogerEbert.com
Read More | Posted Sep 28, 2018
88% MATANGI/MAYA/M.I.A. (2018) The documentary elicits some viewer indignation on her behalf, but overall, it's not a very inspired piece of work.‐ New York Times
Read More | Posted Sep 27, 2018
79% Bad Reputation (2018) The movie chronicles music industry tales of glory and failure. These are dishy, but more interesting is Ms. Jett's rock 'n' roll heart. The stories of how she mentored younger bands are moving.‐ New York Times
Read More | Posted Sep 27, 2018
76% Black '47 (2018) Since this is a rare feature film to treat the Irish famine, it's a little odd that it tilts so heavily toward a genre exercise. But as a genre exercise, it's pretty potent.‐ New York Times
Read More | Posted Sep 27, 2018
2/4 48% The Song of Sway Lake (2018) The attractiveness of the scenery, and a quiet, dignified performance by Ms. Peña in what could now be her last movie appearance, wind up being the main redeeming values here.‐ RogerEbert.com
Read More | Posted Sep 21, 2018
79% Quincy (2018) His triumphs from the earliest points of his career onward are exhilarating; the racism he is obliged to endure throughout is infuriating.‐ New York Times
Read More | Posted Sep 20, 2018