Henry Stewart

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For 37 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 9.7 points lower than other critics. (0-100 point scale)

Henry Stewart's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 88 Us
Lowest review score: 0 Dark Crimes
Score distribution:
  1. Positive: 19 out of 37
  2. Negative: 10 out of 37
37 movie reviews
    • 61 Metascore
    • 63 Henry Stewart
    Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes.
    • 53 Metascore
    • 25 Henry Stewart
    Ma
    In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors.
    • 81 Metascore
    • 88 Henry Stewart
    Us
    Even though it’s not as tidily satisfying as Get Out, the new film is both darker and more ambitious, and broader in its themes.
    • 57 Metascore
    • 75 Henry Stewart
    Happy Death Day 2U pushes further than even matters of life and death into a realm in which stakes don’t even really apply anymore, concerned as it is not with how we live our best lives, but with how we can be the best possible versions of ourselves.
    • 45 Metascore
    • 50 Henry Stewart
    The filmmakers fail to realize that the darkest horror here doesn’t lie in the triumph of true evil, but in seeing how far a regular family will go to protect itself before doing the right and necessary thing, however hard or horrible it might be.
    • 64 Metascore
    • 75 Henry Stewart
    The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren’t.
    • 71 Metascore
    • 75 Henry Stewart
    When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it's deeply moving.
    • 62 Metascore
    • 50 Henry Stewart
    The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull.
    • 59 Metascore
    • 75 Henry Stewart
    The film moves evenly toward a conclusion that feels as inevitable as it does inescapable, while providing a plausible framework for the still-mysterious true crime.
    • 29 Metascore
    • 25 Henry Stewart
    Pierre Morel's first feature film set in the United States is brainless propaganda for the MAGA market.
    • 44 Metascore
    • 25 Henry Stewart
    Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be.
    • 53 Metascore
    • 75 Henry Stewart
    The film is preposterously conceived, but writer-director Stephen Susco so tightly, excitingly executes it that you hardly notice.
    • 54 Metascore
    • 75 Henry Stewart
    Especially early on, Gerard McMurray often rejects the exhibitionist slaughter that James DeMonaco established as the Purge series’s modus operandi in favor of violence that’s rawer and realer.
    • 24 Metascore
    • 0 Henry Stewart
    There’s a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic.
    • 35 Metascore
    • 38 Henry Stewart
    Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film.
    • 80 Metascore
    • 63 Henry Stewart
    Justin Benson and Aaron Moorhead veer away from the deeper, even meta-cinematic, implications of their plotting.
    • 48 Metascore
    • 50 Henry Stewart
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them.
    • 52 Metascore
    • 50 Henry Stewart
    Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them, probably because addressing them could too quickly shut down the romance.
    • 79 Metascore
    • 63 Henry Stewart
    Annihilation gets momentum from the deeper it pushes into the uncertainties of ecology and the self.
    • 57 Metascore
    • 63 Henry Stewart
    Eventually, the filmmakers reveal the secrets they'd previously withheld, spoiling the film's sustained mystique.
    • 49 Metascore
    • 25 Henry Stewart
    The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
    • 72 Metascore
    • 25 Henry Stewart
    As released, All the Money in the World is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.
    • 31 Metascore
    • 50 Henry Stewart
    The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them.
    • 52 Metascore
    • 50 Henry Stewart
    Once the film gets to the Orient Express, it's as if Kenneth Branagh is always itching to get off of it, even having Hercule Poirot at one point look over a list of names while standing atop the train for no discernible reason, except perhaps to enjoy the way the sun peeks out between two distant mountain peaks.
    • 67 Metascore
    • 75 Henry Stewart
    The outline of Miles Joris-Peyrafitte’s As You Are is certainly well-worn, but this coming-of-age film nonetheless stands out for its nuanced sense of detail and the sympathy it extends to its main characters.
    • 58 Metascore
    • 50 Henry Stewart
    The film's central theme, about where attention-starved narcissism leads when taken to extremes, isn't quite sufficient to sustain an entire feature.
    • 48 Metascore
    • 25 Henry Stewart
    Greg McLean and screenwriter Justin Monjo faithfully hit the key plot points of Yossi Ghinsberg's 1993 book Back from Tuichi but fail to sell the severity of the threats Yossi confronts.
    • 62 Metascore
    • 63 Henry Stewart
    Una
    The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
    • 75 Metascore
    • 63 Henry Stewart
    The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence.
    • 39 Metascore
    • 25 Henry Stewart
    It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds.

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