For 81 reviews, this critic has graded:
  • 24% higher than the average critic
  • 2% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 6.8 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 Arthur Newman
Score distribution:
  1. Positive: 17 out of 81
  2. Negative: 3 out of 81
81 movie reviews
    • 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
    Where to Invade Next is a romantic film, equally affecting and annoying in its simplicity.
    • 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.
    • 55 Metascore
    • 60 Henry Barnes
    Jon Cassar’s film rejects the recent revisionism that’s flooded the genre. His take – a straight rip-off of the classics – is weirdly refreshing as a result.
    • 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.
    • 60 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.
    • 72 Metascore
    • 60 Henry Barnes
    It’s all fairly indulgent. But Sunset Song also has a viciousness that stops it falling too deep into a slumber
    • 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.
    • 33 Metascore
    • 40 Henry Barnes
    Big but boring, expansive but cheap-looking, Allegiant spins in place, waiting for next year’s Ascendent to come along and offer resolution. In all candour: you can do without it.
    • 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.
    • 50 Metascore
    • 40 Henry Barnes
    You can’t let your heroes be truly, purely horrible. But McDonagh’s moral twist comes in way too late and much too hard. It leaves you dizzy.
    • 27 Metascore
    • 40 Henry Barnes
    The cast are some of the most promising actors of their generation, but what chemistry there is between them is swept away by wave after wave of expository dialogue and ludicrous exclamation.
    • 54 Metascore
    • 40 Henry Barnes
    It’s a rehash that neither develops the character nor betrays him. It simply assumes that we still share his weaknesses and therefore care about the fool.
    • 30 Metascore
    • 40 Henry Barnes
    An outrageously misjudged drama that flirts with the story of the birth of the gay rights movement.
    • 67 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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