For 61 reviews, this critic has graded:
  • 22% higher than the average critic
  • 3% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 2.7 points lower than other critics. (0-100 point scale)

Henry Barnes' Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Double
Lowest review score: 20 Arthur Newman
Score distribution:
  1. Positive: 16 out of 61
  2. Negative: 2 out of 61
61 movie reviews
    • 65 Metascore
    • 60 Henry Barnes
    A fun, disposable watch.
    • 63 Metascore
    • 60 Henry Barnes
    Brady Corbet is excellent as thoroughly unlikable Simon.
    • 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.
    • 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.
    • 86 Metascore
    • 60 Henry Barnes
    There's a degree of puffery in the writing, however, that makes this drama untrustworthy.
    • 60 Metascore
    • 60 Henry Barnes
    Foy's talent lies in suggesting horror, not delivering it.
    • 70 Metascore
    • 60 Henry Barnes
    Joe Swanberg's follow-up to Drinking Buddies is short and slight, but undeniably charming.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 60 Henry Barnes
    There's romance and tragedy, but little depth and no nuance.
    • 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.
    • 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.
    • 63 Metascore
    • 60 Henry Barnes
    While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.
    • 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.
    • 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.
    • 68 Metascore
    • 60 Henry Barnes
    The Place Beyond the Pines is ambitious and epic, perhaps to a fault.
    • 57 Metascore
    • 60 Henry Barnes
    A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.
    • 56 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.
    • 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 East – a sleek thriller clogged by its noble message – heads south. It becomes sanctimonious, makes you contrary. I left craving a Big Mac.
    • 62 Metascore
    • 40 Henry Barnes
    You can't help thinking he's missed the point of Pulp. Their music denigrated the people as much as it celebrated them. Habicht leaves the city in love with a surface-level reading of Cocker's take on it.
    • 44 Metascore
    • 40 Henry Barnes
    Sometimes it works - Brosnan and Thompson are sedately charming, Spall and Imrie are naturally funny together - but there's only so much humour you can squeeze out of Pierce's dicky prostate.
    • 48 Metascore
    • 40 Henry Barnes
    Writer-director Kate Barker-Froyland's debut feature is a mournful number, held back by an uncertain performance by Flynn and an alienating reverence for the restorative power of middling indie-folk.
    • 59 Metascore
    • 40 Henry Barnes
    It's not bad, exactly – but it is boring and very rarely funny. This is laboured. This is aimless. This Is 40. It's really quite a grind.
    • 51 Metascore
    • 40 Henry Barnes
    Nothing really adds up to much, past a solid performance from Woodley and the energetic - if out-of-place - turn from Green.
    • 64 Metascore
    • 40 Henry Barnes
    Vitthal's film is full of heart, but overly ambitious. He could have made it easy on himself and steered us down a much more familiar route. Instead he delivers a moralistic story that's pure in its intention and a real slog to watch.
    • 55 Metascore
    • 40 Henry Barnes
    Tykwer and the Wachowskis' other twist on this karmic hokum - to cast each of their actors in multiple roles across the stories, regardless of age or race - is less successful.

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