Odie Henderson

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For 147 reviews, this critic has graded:
  • 61% higher than the average critic
  • 0% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Blindspotting
Lowest review score: 0 Nina
Score distribution:
  1. Positive: 92 out of 147
  2. Negative: 36 out of 147
147 movie reviews
    • 62 Metascore
    • 75 Odie Henderson
    The best feature of Alpha is its imagery, which is absolutely stunning in IMAX. Hughes, his cinematographer Martin Gschlacht and the visual effects team create a world that is as beautiful as it is dangerous, often framing the characters in the center of a vast, almost endless landscape.
    • 82 Metascore
    • 100 Odie Henderson
    BlacKkKlansman presents racism as a dichotomy between the absurd and the dangerous; the film’s intentional laughs often get caught in one’s throat.
    • 60 Metascore
    • 50 Odie Henderson
    Because Disney wants your money, of course. I don’t begrudge their need for greed; I just wish they hadn’t given us yet another movie built on the pseudo-psychological cliché that adults need to reconnect with their childhoods in order to be better adults.
    • 84 Metascore
    • 75 Odie Henderson
    This documentary is as welcoming to intense fashionistas as it is to gauche fools like me.
    • 76 Metascore
    • 100 Odie Henderson
    Like all great movies, Blindspotting is a force to be reckoned with and wrestled with. No matter where you land in your assessment, your expectations are guaranteed to be shattered.
    • 74 Metascore
    • 63 Odie Henderson
    This is the generically structured and tamer “approved” version of a much richer story.
    • 83 Metascore
    • 88 Odie Henderson
    Custody plays like a more humanistic Michael Haneke film. It’s emotionally bruising but not without some glimmer of hope, personified here by a close-up of the preternaturally kind face of a 911 dispatcher.
    • 52 Metascore
    • 63 Odie Henderson
    SuperFly is visually flat, relying too much on oft-repeated motifs of rap videos rather than the ingenuity I expected. By the fourth time someone “made it rain” around strippers or executed a gory shoot-out, I gave up on potentially seeing something new.
    • 85 Metascore
    • 88 Odie Henderson
    One of the many “stand up and cheer” moments in Morgan Neville’s enchanting documentary, at least for me, is when cellist Yo-Yo Ma describes his first meeting with the man who will forever be known as the proprietor of “Mister Rogers’ Neighborhood.” “He scared the hell out of me,” says Ma.
    • 66 Metascore
    • 38 Odie Henderson
    Would you enjoy a movie where Warren Buffet robs a bodega — and kicks the bodega cat for good measure? Because that’s what American Animals feels like.
    • 81 Metascore
    • 75 Odie Henderson
    This is not a film for children, but the camerawork and the emotional undercurrents most often evoke the physical viewpoint, level of understanding and sensory processes of a child. We as adults must deduce the film’s most crucial pieces of information as they fly over Frida’s head.
    • 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.
    • 65 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.

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