For 73 reviews, this critic has graded:
  • 23% higher than the average critic
  • 2% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Henry Barnes' Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Double
Lowest review score: 20 Mr. Right
Score distribution:
  1. Positive: 16 out of 73
  2. Negative: 3 out of 73
73 movie reviews
    • 69 Metascore
    • 60 Henry Barnes
    It's fun to watch Whedon pitch his heroes against each other. Child's play, maybe, but entertaining all the same.
    • 86 Metascore
    • 60 Henry Barnes
    There's a degree of puffery in the writing, however, that makes this drama untrustworthy.
    • 73 Metascore
    • 60 Henry Barnes
    The chemistry between Mikkelsen and Vikander barely simmers, when it should boil. Nevertheless, it's a fascinating affair of state.
    • 68 Metascore
    • 60 Henry Barnes
    The Place Beyond the Pines is ambitious and epic, perhaps to a fault.
    • 65 Metascore
    • 60 Henry Barnes
    Gondry's argument – that pack mentality crushes individual expression – follows a similarly predictable route, but there's enough of his signature playfulness (especially in the use of mobile-phone footage to present flashbacks) to keep the journey entertaining.
    • 63 Metascore
    • 60 Henry Barnes
    Brady Corbet is excellent as thoroughly unlikable Simon.
    • 63 Metascore
    • 60 Henry Barnes
    While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.
    • 65 Metascore
    • 60 Henry Barnes
    A fun, disposable watch.
    • 68 Metascore
    • 60 Henry Barnes
    The East – a sleek thriller clogged by its noble message – heads south. It becomes sanctimonious, makes you contrary. I left craving a Big Mac.
    • 60 Metascore
    • 60 Henry Barnes
    Foy's talent lies in suggesting horror, not delivering it.
    • 69 Metascore
    • 60 Henry Barnes
    There's romance and tragedy, but little depth and no nuance.
    • 57 Metascore
    • 60 Henry Barnes
    A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.
    • 64 Metascore
    • 60 Henry Barnes
    Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
    • 71 Metascore
    • 60 Henry Barnes
    The Raid 2's faults are not in Evans's technique – he's unusually adept at capturing the art of violence. Instead, the film suffers from too much potential.
    • 70 Metascore
    • 60 Henry Barnes
    Joe Swanberg's follow-up to Drinking Buddies is short and slight, but undeniably charming.
    • 43 Metascore
    • 60 Henry Barnes
    If only the transitions in and out of the dollops of broad sex comedy weren't such a bumpy ride.
    • 63 Metascore
    • 60 Henry Barnes
    Niccol creates an atmosphere that is airless and dull, an unusual tone for a modern war film, but one that fits the subject matter perfectly.
    • 38 Metascore
    • 60 Henry Barnes
    A huge improvement on the muddled melodrama of Labor Day, Men, Women and Children is still a flawed Jason Reitman film. Its scope is too big, his ambitions too high.
    • 74 Metascore
    • 60 Henry Barnes
    It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.
    • 64 Metascore
    • 60 Henry Barnes
    Director Francis Laurence ekes a paltry story out. The special effects are limp and the script a little creaky, although somehow it still manages to thrill.
    • 69 Metascore
    • 60 Henry Barnes
    Even if Predestination is distinctive chiefly for Snook’s excellent performance, it’s still a tricksy story well-handled by its directors. It doesn’t offer any new twists on the genre, but it is clever enough to leave you satisfied that you don’t want the time back.
    • 61 Metascore
    • 60 Henry Barnes
    Inconsistency is A Perfect Day’s biggest problem. The script is scalpel sharp in some places, flabby as the well-blocker in others.
    • 75 Metascore
    • 60 Henry Barnes
    A sequel that is slick with silliness, but peppered with enough wit and peril to sustain the franchise’s momentum.
    • 63 Metascore
    • 60 Henry Barnes
    The artists’ blathering about the creative process and the nature of existence gets monotonous. It’s the ordinary folk that keep the film on-track.
    • 65 Metascore
    • 60 Henry Barnes
    Where to Invade Next is a romantic film, equally affecting and annoying in its simplicity.
    • 80 Metascore
    • 60 Henry Barnes
    A wide-eyed tribute to human ingenuity that packs enough snark to pull itself out of the black hole of earnestness, even if its fuel runs out partway through.
    • 60 Metascore
    • 60 Henry Barnes
    [Jay Roach] wants the film to be fun, while the story is serious. It’s a good idea and an admirable intention. But it does suffer the odd wobble.
    • 68 Metascore
    • 60 Henry Barnes
    It’s all fairly indulgent. But Sunset Song also has a viciousness that stops it falling too deep into a slumber
    • 59 Metascore
    • 60 Henry Barnes
    A macro argument is being filtered through people’s local concerns, but without getting to know the subjects, you can understand their suffering, but can’t feel it.
    • tbd Metascore
    • 60 Henry Barnes
    Jon Cassar’s film rejects the recent revisionism that’s flooded the genre. His take – a straight rip-off of the classics – is weirdly refreshing as a result.

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