Odie Henderson

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For 136 reviews, this critic has graded:
  • 62% higher than the average critic
  • 0% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Southside with You
Lowest review score: 0 Nina
Score distribution:
  1. Positive: 83 out of 136
  2. Negative: 35 out of 136
136 movie reviews
    • 34 Metascore
    • 12 Odie Henderson
    If you want to see the 1992 Los Angeles riots turned into a bad sitcom and an even worse Lifetime movie, buy a ticket to Kings.
    • 37 Metascore
    • 12 Odie Henderson
    Traffik begins with that classic cinematic lie “inspired by true events” and ends with statistics for women who have been victims of human trafficking. Between these two bookends is a steaming pile of exploitative horse manure masquerading as a feature concerned with the sexual enslavement of women.
    • 52 Metascore
    • 38 Odie Henderson
    Nothing in An Ordinary Man rings true; not the location, nor the performances nor the story.
    • 32 Metascore
    • 50 Odie Henderson
    Cut out thirty minutes, and this might have been a lean, mean Eighties-thriller throwback blessed with a killer lead performance.
    • 66 Metascore
    • 75 Odie Henderson
    I’ve seen Ismael’s Ghosts twice, and both times I got the feeling that I was missing something. The film feels very personal, as if writer/director Arnaud Desplechin were sorting out his thoughts, processes and demons onscreen.
    • 82 Metascore
    • 38 Odie Henderson
    Isle of Dogs does not have a compelling story, and even worse, it has the most egregious examples of its director’s privilege since “The Darjeeling Limited.” This movie really pissed me off, and the only thing I found soothing while watching it was silently repeating to myself “the dogs are very furry.” Reminding myself of the film’s best asset kept me from walking out.
    • 88 Metascore
    • 100 Odie Henderson
    One of the year's best films, and one that transcends the superhero genre to emerge as an epic of operatic proportions. The numerous battle sequences that are staples of the genre are present, but they float on the surface of a deep ocean of character development and attention to details both grandiose and minute
    • 70 Metascore
    • 38 Odie Henderson
    While Double Lover is as squeamish as most Cinemax-style wank material about a certain male organ, it’s more than charitable about its female counterpart. One can’t be faulted for expecting greatness from a film that opens with a close-up of a stretched out vagina morphing into an eye.
    • 35 Metascore
    • 63 Odie Henderson
    Proud Mary doesn’t deserve the lack of faith its studio has in it. In fact, it’s almost good, so close to success that its flaws truly become frustrating.
    • 58 Metascore
    • 25 Odie Henderson
    But don’t be fooled! This is not Oscar bait at all. Roman J. Israel, Esq. is the kind of horrendous hot mess an actor makes directly after he wins the Oscar.
    • 85 Metascore
    • 100 Odie Henderson
    This is melodrama of the highest order, which is a compliment, for melodrama is not a bad thing. It is part of some of the greatest works of art, and in the right hands, it can elicit an ennui-shattering response from the audience.
    • 17 Metascore
    • 50 Odie Henderson
    You’re going to Madea’s house to laugh, forget your troubles and perhaps get a good Christian message. To Perry’s credit, he does a far better job of folding that message into the film than usual.
    • 79 Metascore
    • 88 Odie Henderson
    The Meyerowitz Stories shockingly belongs to Sandler, who is absolutely fantastic.
    • 72 Metascore
    • 90 Odie Henderson
    The film's messages are cleverly wrapped in Smoczynska's entertaining, original vision. It's sexy, fearless, fun, and unrepentantly nasty.
    • 79 Metascore
    • 100 Odie Henderson
    The masterful thing about Denzel Washington’s direction here is that he doesn’t exactly open up the play. Instead, he opens up the visual frame around the players.
    • 74 Metascore
    • 88 Odie Henderson
    This is one of the year's best films.
    • 3 Metascore
    • 25 Odie Henderson
    The current incarnation of Seagal is no fun at all.
    • 95 Metascore
    • 100 Odie Henderson
    Readers of Baldwin’s work already know that it’s as timely and relevant today as it was when he wrote it decades ago. I Am Not Your Negro powerfully highlights this point for today.
    • 81 Metascore
    • 88 Odie Henderson
    Pollard’s choice to end with a stirring a capella number by Son House still provided the uplift needed to fight another day.
    • 75 Metascore
    • 63 Odie Henderson
    If the subject interests you, don’t let my mildly negative review dissuade you from going to see it. I would like to see it again myself, but this time in the version I can share with several of my relatives whose vision is no longer present.
    • 55 Metascore
    • 75 Odie Henderson
    Aunt May is such a delectable force that the audience waits with baited breath to see if she’ll do what we’d expect from an auntie. And she always does; her consistency is the warmest form of comfort.
    • 30 Metascore
    • 38 Odie Henderson
    At 103 minutes, this film has way too much dead weight. Scenes are repeated over and over, and some of the acting would not cut it in a school play. But in the rare moments when Tyler Perry’s Boo! A Madea Halloween is firing on all cylinders, it displays a cleverness which hints that, with more time and a few more iterations of the script, this might have been a good movie.
    • 65 Metascore
    • 75 Odie Henderson
    This is one overstuffed horror movie recipe, with a dash of “The Exorcist” and a spritz of “Ghost” among its tasty ingredients.
    • 60 Metascore
    • 75 Odie Henderson
    Kevin Hart: What Now? is Kevin Hart at the top of his game.
    • 90 Metascore
    • 100 Odie Henderson
    The film builds its case piece by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before closing out on a visual note of hope designed to keep us on the hook as advocates for change.
    • 70 Metascore
    • 88 Odie Henderson
    All movies are manipulative by default; the effectiveness of that manipulation is the more valid measurement to inspect. On that scale, A Man Called Ove is a morbidly funny and moving success.
    • 45 Metascore
    • 50 Odie Henderson
    If you ever wanted to see a wartime movie that feels directed by a kinder, gentler Michael Bay, Come What May is right up your alley. It plays like a more cultured — and very French — version of “Pearl Harbor," complete with bad CGI battle sequences, jaw-dropping plot coincidences, over-the-top nationalistic gestures and dialogue that often sounds swiped from a soap opera.
    • 74 Metascore
    • 75 Odie Henderson
    More than just catnip for Trekkies. It’s also an often painful examination of the rocky father/son relationship that existed between filmmaker Adam Nimoy and his famous father, Leonard.
    • 74 Metascore
    • 100 Odie Henderson
    This down-to-earth approach works surprisingly well because Southside with You never loses sight of the primary tenet of a great romantic comedy: All you need is two people whom the audience wants to see get together—then you put them together.
    • 22 Metascore
    • 25 Odie Henderson
    Ghost Team is neither scary nor funny.

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