For 53 reviews, this critic has graded:
  • 24% higher than the average critic
  • 3% same as the average critic
  • 73% lower than the average critic
On average, this critic grades 1.8 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: 15 out of 53
  2. Negative: 2 out of 53
53 movie reviews
    • 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.
    • 37 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.
    • 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.
    • 83 Metascore
    • 60 Henry Barnes
    Wilson's life has been unusually rich. This biopic, like any biopic, is a cocktail of fact and myth. It's very sensitive to its subject, which can sometimes leave it feeling slight.
    • 48 Metascore
    • 40 Henry Barnes
    Pearce has fun; world-weary in the style of a 15-year-old told one too many times to tidy his room – but shoddy special effects and the surface-level sass of the president's daughter leave this one spinning in low orbit.
    • 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.
    • 45 Metascore
    • 40 Henry Barnes
    The script's a drowner, the acting's awash. Again and again Butler returns to the sea. He just about survives the buffeting.
    • 60 Metascore
    • 40 Henry Barnes
    The flat hammerblows of The Wolverine bear little relation to the zing and pop of Matthew Vaughn's colourful treatment. Inconsistency is inevitable in a world that's constantly being dug up and done over, but it leaves us no time to fall in love with anything being flung at us.
    • 67 Metascore
    • 40 Henry Barnes
    The Perks of Being a Wallflower is a perfect fit for its target audience – the Harry Potter kids who are following Emma Watson through her baby steps towards the stronger stuff.
    • 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.
    • 45 Metascore
    • 40 Henry Barnes
    The dancefloor's full of bodies, the bride and groom have been backed into a corner by relatives desperate for their pound of flesh. Pretty much your average wedding, then.
    • 47 Metascore
    • 40 Henry Barnes
    Parked putters, but doesn't go anywhere.
    • 44 Metascore
    • 40 Henry Barnes
    Originality may be out of Blood's jurisdiction, but it manages to plod on, dutifully walking a tired old beat.
    • 59 Metascore
    • 40 Henry Barnes
    It's pulled this way and that by a hiddly-fiddly soundtrack, spun senseless by scene after scene of Radcliffe and Kazan trading flirtatious banter.
    • 40 Metascore
    • 40 Henry Barnes
    It aims for sexy and/or dangerous, but the tone is dry and the pace lags.
    • 51 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.
    • 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.
    • 65 Metascore
    • 40 Henry Barnes
    Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Henry Barnes
    Horns plays instead like a high concept beer advert – breezily stylish, memorable in its time, but a bit too full of gas.
    • 42 Metascore
    • 20 Henry Barnes
    The flat-out dullness of Arthur is the point of Dante Ariola's debut feature, but it's also its undoing.
    • 39 Metascore
    • 20 Henry Barnes
    The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.