For 46 reviews, this critic has graded:
  • 23% higher than the average critic
  • 0% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 3 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 The Other Woman
Score distribution:
  1. Positive: 12 out of 46
  2. Negative: 2 out of 46
46 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.
    • 66 Metascore
    • 80 Henry Barnes
    Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.
    • 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.
    • 67 Metascore
    • 80 Henry Barnes
    Ahadu pulls the curtain back on a government that was willing to imprison and torture its electorate.
    • 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.
    • 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.
    • 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.
    • 76 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.
    • 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.
    • 65 Metascore
    • 60 Henry Barnes
    A fun, disposable watch.
    • 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
    While some of World War Z is rotten, the whole stands as a punchy, if conventional action thriller.
    • 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.
    • 60 Metascore
    • 60 Henry Barnes
    Foy's talent lies in suggesting horror, not delivering it.
    • 63 Metascore
    • 60 Henry Barnes
    Brady Corbet is excellent as thoroughly unlikable Simon.
    • 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.
    • 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
    Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 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.