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Glenn Kenny
Tomatometer-approved critic
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Food, Inc. 2 (2023) |
This is an engaging and watchable activist documentary that does make way for optimism in its last minutes. - RogerEbert.com
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| Posted Apr 12, 2024
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Kim's Video (2023) |
Less a retail history than a shaggy dog story. One that actually appears to be true. Go in knowing that and you might get a kick out of it. - New York Times
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| Posted Apr 04, 2024
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Asphalt City (2023) |
Sometimes maximum intensity doesn’t yield optimal results. - RogerEbert.com
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| Posted Mar 29, 2024
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The Beautiful Game (2024) |
Peppered with funny and inspiring moments... “The Beautiful Game” is a model of a modern “nice” movie. - New York Times
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| Posted Mar 28, 2024
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Ghostbusters: Frozen Empire (2024) |
If only the filmmakers could’ve shoehorned some actual jokes into this overstuffed confection, or served up action that didn’t look like it was edited in a digital shredder! - AARP Movies for Grownups
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| Posted Mar 22, 2024
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Road House (2024) |
Though two hours long, the movie moves as swiftly as a greased ferret through a Habitrail and delivers hallucinatory action highs for its extended climax. - New York Times
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| Posted Mar 22, 2024
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Limbo (2023) |
“Limbo” is entirely engrossing as it brings its discomfiting points home. - RogerEbert.com
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| Posted Mar 22, 2024
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Free Time (2023) |
Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character. - New York Times
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| Posted Mar 21, 2024
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Ryuichi Sakamoto: Opus (2023) |
The sound recording is breathtakingly good, an apt correlative to the austere yet sumptuous black-and-white imagery. - RogerEbert.com
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| Posted Mar 16, 2024
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Code 8: Part II (2024) |
In the end, even genre fans with relaxed standards might try to similarly rebel against this insipid offering. - New York Times
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| Posted Feb 28, 2024
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Bring Him to Me (2023) |
The bag of ensuing twists in “Bring Him to Me” may not entirely redeem the clichés that made them possible, but they do keep one alert. - RogerEbert.com
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| Posted Feb 23, 2024
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Ordinary Angels (2024) |
Despite its bona fides, the movie's narrative and characterizations practically gorge on clichés. - New York Times
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| Posted Feb 22, 2024
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Onlookers (2023) |
I myself got enough out of “Onlookers” that I don’t ultimately feel it belongs in the “For Avant-Garde Documentary Lovers” category exclusively. - RogerEbert.com
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| Posted Feb 16, 2024
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Land of Bad (2024) |
Moments presumably conceived to create suspense... merely contribute to its longueurs. - New York Times
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| Posted Feb 15, 2024
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Out of Darkness (2022) |
It’s an impressively credible and gnarly journey back in time. - RogerEbert.com
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| Posted Feb 12, 2024
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Lover, Stalker, Killer (2024) |
True-crime doc watchers who are in committed relationships may see “Lover, Stalker, Killer,” a bracing account of a lurid series of misdeeds directed by Sam Hobkinson, and breathe a sigh of relief over being out of the dating pool. - New York Times
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| Posted Feb 08, 2024
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Perfect Days (2023) |
I was consistently moved by this picture and by the serenity sought and often found by its protagonist. - RogerEbert.com
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| Posted Feb 01, 2024
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The Greatest Night in Pop (2024) |
While the making of the song was partially detailed in its long-form video, there’s plenty of new, engaging, and sometimes eyebrow-raising anecdotal material here. - New York Times
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| Posted Jan 29, 2024
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Pictures of Ghosts (2023) |
A lovely, enveloping film. - RogerEbert.com
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| Posted Jan 26, 2024
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June (2023) |
The bare facts of Carter Cash’s story are such that the filmmakers would have had to really mess up to not produce a movie that entertains and moves a viewer to tears. “June,” rest assured, does the job well. - New York Times
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| Posted Jan 16, 2024
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Driving Madeleine (2022) |
A lot more than a sentimental journey. - RogerEbert.com
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| Posted Jan 12, 2024
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The Beekeeper (2024) |
[Ayer] tackles this assignment without much self-seriousness but doesn’t seem keen to embrace its silliness quotient, either. - Boston Globe
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| Posted Jan 12, 2024
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Artie Shaw: Time Is All You've Got (1985) |
An all-star roster of interviewees, including the luminaries Mel Tormé and Buddy Rich, contributes to an unfailingly entertaining saga. - New York Times
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| Posted Jan 04, 2024
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He Went That Way (2023) |
Few things in this laboriously quirky picture mesh at all. - New York Times
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| Posted Jan 04, 2024
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Migration (2023) |
In the end, “Migration” moves along at jet speed while often feeling labored. - New York Times
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| Posted Dec 21, 2023
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Immediate Family (2022) |
Tedesco is the son of the West Coast guitar great Tommy Tedesco, and he clearly has a knack for getting musicians to open up. - New York Times
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| Posted Dec 14, 2023
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Anselm (2023) |
Wenders chooses to illuminate indirectly, and to compel the viewer to concoct questions of their own. - RogerEbert.com
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| Posted Dec 08, 2023
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Fast Charlie (2023) |
This is the farthest thing in the cinematic firmament from a world-changer you can imagine, but as an evening’s entertainment, it’ll more than do. - RogerEbert.com
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| Posted Dec 08, 2023
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Werner Herzog: Radical Dreamer (2022) |
It begins with Herzog’s unusual contemporary media celebrity and examines how he got it — honoring some of his most astonishing work, including the obsessive epics “Aguirre: The Wrath of God” and “Fitzcarraldo.” - New York Times
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| Posted Dec 05, 2023
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Silent Night (2023) |
There’s a lot of sound and fury and it works: This is suspenseful and cathartic, and even the schmaltzy stuff is so distinctly John Woo that it’s welcome. - New York Times
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| Posted Nov 30, 2023
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La Syndicaliste (2022) |
“La Syndicaliste” might have benefitted from a bit more expansiveness. - RogerEbert.com
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| Posted Nov 29, 2023
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Against the Tide (2023) |
["Against the Tide"] depicts environmental disaster with an intimate lens. - RogerEbert.com
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| Posted Nov 22, 2023
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Genie (2023) |
Fantasy movies are of course free to be far-fetched, but some of the plot turns here are so wide as to suggest shrugging contempt... Also, the flying carpet special effects are lousy. - New York Times
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| Posted Nov 21, 2023
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Saltburn (2023) |
Consistently perverse and often visually startling, it’s nevertheless weirdly unsatisfying. But it’s worth it to see Richard E. Grant, 66, and Rosamund Pike, highly entertaining as Elordi’s dotty parents. - AARP Movies for Grownups
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| Posted Nov 18, 2023
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Napoleon (2023) |
The movie’s 158-minute length is substantial, but given how eventful its subject’s life was, Napoleon practically gallops along. - AARP Movies for Grownups
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| Posted Nov 18, 2023
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The Strangler (1970) |
The sensibility behind “The Strangler” is sufficiently unusual and stalwart. - RogerEbert.com
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| Posted Nov 17, 2023
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Fallen Leaves (2023) |
The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained. - RogerEbert.com
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| Posted Nov 17, 2023
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Thanksgiving (2023) |
Horror for [Roth] is a blunt instrument. The thing is, he knows his stuff and he’s very adept at serving up both gross-outs and real leap-from-your-seat moments. - New York Times
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| Posted Nov 16, 2023
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Youth (Spring) (2023) |
It’s not a pleasant experience, but it’s an illuminating one. - RogerEbert.com
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| Posted Nov 10, 2023
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Journey to Bethlehem (2023) |
The magic of movies does depend on a certain suspension of disbelief, but “Journey” tests the viewer beyond rational credulity, even as it persists in asserting the reality of its existence. - New York Times
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| Posted Nov 09, 2023
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Beyond Utopia (2023) |
A bracing and frequently jaw-dropping look at, first and foremost, the discontented people of North Korea who attempt defections doggedly. - RogerEbert.com
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| Posted Nov 02, 2023
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In the Court of the Crimson King: King Crimson at 50 (2022) |
Part road chronicle and part retrospective, and captures King Crimson, the adventurous British rock ensemble, at what may be the end of its existence. - New York Times
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| Posted Nov 02, 2023
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Suitable Flesh (2023) |
While neither particularly profound nor earth-shatteringly scary, “Suitable Flesh” is better than passable grisly horror fun in a very specific tradition. - RogerEbert.com
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| Posted Oct 26, 2023
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Old Dads (2023) |
Burr is skilled at this, for sure. And Woodbine and Cannavale, who are better actors overall, slide into Burr’s mode with ease. The results will prove satisfactory and maybe cathartic for his fans. - New York Times
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| Posted Oct 20, 2023
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The Road Dance (2021) |
We’re left with the pretty scenery and a free-floating sense of inconsequentiality. - RogerEbert.com
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| Posted Oct 13, 2023
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The Burial (2023) |
Of course its two lead actors give the bravura performances you’d expect from them, but they don’t eat the scenery — they take the material seriously and invest in it with welcome nuance. - New York Times
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| Posted Oct 12, 2023
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Joan Baez I Am a Noise (2023) |
A coherent, cohesive, and sometimes jarringly frank portrait. - RogerEbert.com
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| Posted Oct 06, 2023
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Shadows in the City (1991) |
An astonishing and often queasiness-inducing curio of No Wave cinema. - New York Times
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| Posted Oct 05, 2023
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Mister Organ (2022) |
If its title, “Mister Organ,” initially strikes you as humorous, you won’t be laughing long. - New York Times
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| Posted Oct 05, 2023
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Story Ave (2023) |
The outlines of the movie’s story are familiar, but Torres has resourcefulness, energy, and imagination to burn in how he tells it. - RogerEbert.com
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| Posted Sep 29, 2023
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