For 84 reviews, this critic has graded:
  • 25% higher than the average critic
  • 2% same as the average critic
  • 73% lower than the average critic
On average, this critic grades 8.5 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: 18 out of 84
  2. Negative: 3 out of 84
84 movie reviews
    • 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.
    • 74 Metascore
    • 60 Henry Barnes
    It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.
    • 41 Metascore
    • 40 Henry Barnes
    It aims for sexy and/or dangerous, but the tone is dry and the pace lags.
    • 83 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.
    • 76 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.
    • 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.
    • 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.
    • 76 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.
    • 46 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.
    • 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.
    • 39 Metascore
    • 20 Henry Barnes
    The Other Woman scrawls out a dumb dumb-feminist message with a big, fat marker pen.
    • 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
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Henry Barnes
    Infinitely Polar Bear is heartfelt and honest, but it's too cute by half.
    • 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.
    • 70 Metascore
    • 60 Henry Barnes
    Joe Swanberg's follow-up to Drinking Buddies is short and slight, but undeniably charming.
    • 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.
    • 88 Metascore
    • 80 Henry Barnes
    It's rare to see a film about music that professes its love for the music and its characters equally.
    • 64 Metascore
    • 60 Henry Barnes
    Amma Asante's second feature tells Dido's extraordinary story in handsome, if formulaic, style.
    • 57 Metascore
    • 60 Henry Barnes
    A gooey love story is pitted against the end of the world. No wonder the romance comes up wanting.
    • 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.
    • 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.
    • 69 Metascore
    • 60 Henry Barnes
    There's romance and tragedy, but little depth and no nuance.
    • 74 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.
    • 61 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.
    • 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.
    • 60 Metascore
    • 60 Henry Barnes
    Foy's talent lies in suggesting horror, not delivering it.

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