For 52 reviews, this critic has graded:
  • 25% higher than the average critic
  • 3% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 1.5 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 52
  2. Negative: 2 out of 52
52 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.
    • 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.
    • 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.
    • 85 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
    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.
    • 66 Metascore
    • 80 Henry Barnes
    The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.
    • 80 Metascore
    • 80 Henry Barnes
    Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.
    • 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.
    • 44 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.
    • 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.