Odie Henderson

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For 289 reviews, this critic has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Amazing Grace
Lowest review score: 0 Backgammon
Score distribution:
  1. Negative: 74 out of 289
289 movie reviews
    • 57 Metascore
    • 75 Odie Henderson
    Even if you can’t stand the Minions (who are once again voiced in “Minionese” by Pierre Coffin), you might find this one tolerable. Especially if you’re old enough to get the 1976 jokes yet feel young enough to find bemusement in all the goofy slapstick.
    • 34 Metascore
    • 25 Odie Henderson
    Director Patrick Hughes’ latest is both 112 minutes, and a hodgepodge of so many other movies that it becomes the most obnoxious of cinematic collages.
    • 64 Metascore
    • 75 Odie Henderson
    CIVIL won’t change any minds about its subject, but it does a good job of delivering “fly on the wall” observations of the year it covers.
    • 41 Metascore
    • 38 Odie Henderson
    Not since Morgan Freeman’s Joe Clark in “Lean on Me” has a real-life person’s ass been kissed more by a movie. At least that movie had superior lips.
    • 60 Metascore
    • 88 Odie Henderson
    As far as spin-offs go, “Lightyear” is a lot of fun. The voice talent is topnotch, especially Palmer and Evans.
    • 81 Metascore
    • 88 Odie Henderson
    Benediction bears the distinctive stamp of its writer/director, Terence Davies, a man whose films feel more like poetic meditations on moods, emotions, and events than straightforward narratives. It’s as if we are floating above the material, touching down in different places at the filmmaker’s discretion.
    • 72 Metascore
    • 75 Odie Henderson
    Director Andrew Ahn proficiently handles the numerous plot lines, character conflicts, and the tonal shifts between raunch and sweetness.
    • 82 Metascore
    • 88 Odie Henderson
    The excellent and infuriating Hold Your Fire has all the twists and turns of the best hostage movie thrillers.
    • 34 Metascore
    • 38 Odie Henderson
    The Last Victim plays like a bet between the filmmakers and some sadistic bully who triple-dog-dared them to fit all its disparate plotlines into a cohesive whole.
    • 57 Metascore
    • 38 Odie Henderson
    The Aviary experiences a drop in quality during its attempts to goose the audience, but its two lead performances remain consistent.
    • 93 Metascore
    • 100 Odie Henderson
    What’s most refreshing about Petite Maman is that it doesn’t play coy with its magic, nor does it separate it from the sadder, darker reality that surrounds it.
    • 43 Metascore
    • 38 Odie Henderson
    How can we be interested if the movie we’re watching is as unimpressed with itself as we are?
    • 74 Metascore
    • 75 Odie Henderson
    Gagarine plays like a mournful lament for a community that banded together during hard times before being separated and scattered to the winds, leaving no trace of its communal existence behind.
    • 66 Metascore
    • 38 Odie Henderson
    Black folks don’t need the classes in Racism 101 “Master” offers; life gives us PhD’s early on. It’s not for horror fans because it’s a complete failure as a horror movie.
    • 47 Metascore
    • 0 Odie Henderson
    If this film were a person, it would tell you it had a Black friend and voted for Obama twice. That’s how insultingly simplistic it is about race.
    • 77 Metascore
    • 75 Odie Henderson
    Dear Mr. Brody does a fine job of showing how the financial chasm between rich and poor people is as wide and insurmountable today as it was in 1970.
    • 42 Metascore
    • 38 Odie Henderson
    The prior end to this series, “A Madea Family Funeral,” was actually a decent movie. Madea should have quit while she was ahead.
    • 87 Metascore
    • 88 Odie Henderson
    This “Macbeth” is as much about mood as it is about verse. The visuals acknowledge this, pulling us into the action as if we were seeing it on stage. But nowhere is the evocation of mood more prominent than in Kathryn Hunter’s revelatory performance as the Witches.
    • 53 Metascore
    • 38 Odie Henderson
    This is the same "young man's coming-of-age story" you’ve seen over and over. Nothing new has been added. The poster calls this “a feel good movie,” but who is supposed to feel good here? Certainly not the average viewer, who has seen this tired material so many times they can practically recite the dialogue.
    • 52 Metascore
    • 50 Odie Henderson
    You need a blackboard full of X’s and O’s to keep track of the petty plays this movie's running.
    • 74 Metascore
    • 75 Odie Henderson
    By the time we get to Ashe’s AIDS-related activism, and the horrible way USA Today twisted his arm into revealing his diagnosis, Citizen Ashe has taken us on a complex, sometimes infuriating tour of its subject’s life. It begins with the birth of an athlete, then morphs into the creation of an activist. The transition is so subtle that you only realize it after the film ends.
    • 41 Metascore
    • 12 Odie Henderson
    This is three movies in one, each of which is progressively worse.
    • 76 Metascore
    • 75 Odie Henderson
    King Richard is half sports movie, half biopic. As such, it hits the sweet spots and sour notes of both genres.
    • 80 Metascore
    • 75 Odie Henderson
    To be honest, the cynic in me thought “Paper & Glue” was going to be a piece of fluff that would make me roll my eyes at the notion of this type of art having an effect on society at large. But the film turns out to be a lot sharper, more pointed, and more poignant than its subject matter may imply.
    • 87 Metascore
    • 88 Odie Henderson
    Stanley Nelson’s documentary Attica is a harrowing, infuriating look at racism and the abuse of power by people who see others as inhuman.
    • 55 Metascore
    • 75 Odie Henderson
    Snakehead entices you with a lurid premise, but the empathy that shines through the cracks of its tough exterior is the real surprise.
    • 85 Metascore
    • 88 Odie Henderson
    Hall, Grau, editor Sabine Hoffman, and composer Devonté Hynes do an excellent job of casting a hypnotic spell on the audience. This is a deliberately paced film with enveloping moods that feel like symphony movements.
    • tbd Metascore
    • 88 Odie Henderson
    Had this been made back in the 1940s, it would have fit nicely in the same genre as Detour or The Maltese Falcon. It has a streak of hopeless nihilism that’s characteristic of the finest noir.
    • 86 Metascore
    • 88 Odie Henderson
    Wheel of Fortune and Fantasy is a love letter to the art of spinning a good yarn, but it’s also a sharply observed paean to the lies and truths we tell ourselves so that we may function from day to day.
    • 73 Metascore
    • 75 Odie Henderson
    It does what all good documentaries do: it made me want to read up and be educated more on its subject. And what a great and inspiring subject Pauli Murray is.

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