For 51 reviews, this critic has graded:
  • 25% higher than the average critic
  • 1% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Henry Barnes' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Double
Lowest review score: 20 Arthur Newman
Score distribution:
  1. Positive: 14 out of 51
  2. Negative: 2 out of 51
51 movie reviews
    • 68 Metascore
    • 100 Henry Barnes
    The Double isn't an original idea. It wasn't even in Dostoyevsky's time. But it's a great story. And Ayoade has produced a brilliant copy.
    • 72 Metascore
    • 80 Henry Barnes
    Dunham, who pads through much of this extremely well-written, often funny and very touching film in the semi-nude, doesn't give a damn about any of it.
    • 67 Metascore
    • 80 Henry Barnes
    Ahadu pulls the curtain back on a government that was willing to imprison and torture its electorate.
    • 84 Metascore
    • 80 Henry Barnes
    Once you commit to the lexicon – to the blunderbusses, the silver, the loops that close and the loops let run – you're in for a breathless ride. It's been a patchy summer for sci-fi, absent of anything that really sticks in the mind. Johnson's deep, distinctive film plays on repeat.
    • 66 Metascore
    • 80 Henry Barnes
    The soundtrack's ironic bent might dissuade older viewers (Simple Minds are venerated), but they'd be missing out on one of the best musical comedies since A Mighty Wind. The song's the same, but Pitch Perfect is a great cover version.
    • 74 Metascore
    • 80 Henry Barnes
    The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.
    • 66 Metascore
    • 80 Henry Barnes
    Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.
    • 79 Metascore
    • 80 Henry Barnes
    A crash reel – a greatest hits of a boarder's most dramatic falls – is meant to entertain. But Walker takes the cheap thrills of the format and flips it painfully on its head.
    • 75 Metascore
    • 80 Henry Barnes
    What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.
    • 84 Metascore
    • 80 Henry Barnes
    It's rare to see a film about music that professes its love for the music and its characters equally.
    • 75 Metascore
    • 80 Henry Barnes
    For a film that champions talent that takes risks, Frank can sometimes feel a little too conventional. The real Sidebottom's wayward genius would be a hard fit for any story arc, but Frank does a good job of dipping into surrealism and pop in equal measure.
    • 75 Metascore
    • 80 Henry Barnes
    Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.
    • 77 Metascore
    • 80 Henry Barnes
    From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.
    • 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.
    • 64 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.