Odie Henderson

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For 123 reviews, this critic has graded:
  • 63% higher than the average critic
  • 0% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Beyond the Lights
Lowest review score: 0 Backgammon
Score distribution:
  1. Positive: 78 out of 123
  2. Negative: 29 out of 123
123 movie reviews
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 100 Odie Henderson
    Known for her superb indie dramas “I Will Follow” and “Middle of Nowhere”, DuVernay has proven herself a master of small, intimate moments. Selma never loses focus on the interpersonal dynamics between King and his followers, his detractors and his family.
    • 72 Metascore
    • 100 Odie Henderson
    It plays like a Marvel superhero movie had Marvel been run by Suge Knight.
    • 73 Metascore
    • 100 Odie Henderson
    Beyond the Lights makes unapologetically damning statements about the music industry’s treatment of women, yet it never feels preachy. It strikes a risky, though successful balancing act between being immensely entertaining as a musical feature and making dramatic, important statements about depression, self-worth and female empowerment.
    • 82 Metascore
    • 100 Odie Henderson
    There are as many quietly effective moments as there are stand-up-and-cheer moments, and they’re all handled with skill and dexterity on both sides of the camera.
    • 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.
    • 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
    • 88 Odie Henderson
    This is a very good movie and perfect summer counterprogramming.
    • 72 Metascore
    • 88 Odie Henderson
    These documentarians masterfully construct their vision to elevate and serve their subject. The result is more low-key than one might expect from a movie about rap. It is also more powerful, bypassing the expected artist braggadocio to stand on the rarely visited street corner of sociology and hip-hop music.
    • 80 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.
    • 73 Metascore
    • 88 Odie Henderson
    A documentary that inspires long, gauzy gazes back to the carefree, youthful past of viewers of a certain age.
    • 64 Metascore
    • 88 Odie Henderson
    Call Me Lucky will be an especially grueling ride for those who can identify with Crimmins’ trauma. Yet its toughness does not at all diminish its worth. It remains an essential viewing experience.
    • 67 Metascore
    • 88 Odie Henderson
    Like Lee Daniels' hit TV drama “Empire,” Furious 7 is stuffed with situations that require go-for-broke absurdity, but even Daniels and his nighttime soap predecessor Aaron Spelling would pause before attempting the level of “get the f—k outta here!” style shenanigans director James Wan and writer Chris Morgan employ.
    • 71 Metascore
    • 88 Odie Henderson
    There’s an infectious joy to how the actors handle the morbid humor here, and it is never mean-spirited.
    • 79 Metascore
    • 88 Odie Henderson
    The film avoids hagiography, and in doing so, brings out the undeniable humanity of its subjects.
    • 84 Metascore
    • 88 Odie Henderson
    A documentary that plays as cringe comedy. Like that sub-genre, it comes packaged with a star whose irascibility often leads to eye-covering levels of discomfort.
    • 70 Metascore
    • 88 Odie Henderson
    The rare film in this genre that serves as both entry point and continuation. For a change, you can walk in cold and you won't be too lost.
    • 73 Metascore
    • 88 Odie Henderson
    Terrence Malick is one of the producers of Almost Holy, and while Hoover doesn’t go for a full interpretation/realization of his style, there are touches that evoke the director’s work, especially in the film’s last sequence.
    • 51 Metascore
    • 88 Odie Henderson
    I love this kind of backstage documentary, which is not surprising for someone who has "All That Jazz" and "All About Eve" on his all-time top ten list.
    • 67 Metascore
    • 88 Odie Henderson
    This is the End finds a balanced tone most horror comedies fail to deliver. Grossout humor melds easily with grossout horror, sometimes at the same moment.
    • 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.
    • 79 Metascore
    • 88 Odie Henderson
    Jones’ take on Hitchcock/Truffaut is equal parts adaptation, CliffsNotes guide and commentary by a slew of directors influenced by Hitchcock’s work. The film is also a completely entertaining and informative gift to movie lovers, a work constructed with care, humor and insight.
    • 59 Metascore
    • 88 Odie Henderson
    The Best Man Holiday has the potential to become a staple of Christmastime movie watching in the 'hood.
    • 74 Metascore
    • 88 Odie Henderson
    This is one of the year's best films.
    • 63 Metascore
    • 88 Odie Henderson
    That Guy Dick Miller is the perfect title for Elijah Drenner’s wildly entertaining documentary chronicling the 50-plus years of Miller’s career.
    • 79 Metascore
    • 88 Odie Henderson
    The Brits do this type of crowd-pleaser far better than Hollywood, if only because films like “The Full Monty” and “Billy Elliot” were unafraid to temper sweetness with darker elements of reality.
    • 54 Metascore
    • 75 Odie Henderson
    In the few moments where he's left to prank people on his own, Bad Grandpa doesn't treat him like the clichéd potty mouthed kid out for shock value. Instead, he uses his childlike innocence to make the adults more uncomfortable than his grandpa's raunchier shenanigans ever could.
    • 67 Metascore
    • 75 Odie Henderson
    Barbershop: The Next Cut belongs, as the entire series does, to Cedric the Entertainer.