Odie Henderson

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For 241 reviews, this critic has graded:
  • 56% higher than the average critic
  • 1% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.8 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 Backgammon
Score distribution:
  1. Negative: 57 out of 241
241 movie reviews
    • 69 Metascore
    • 25 Odie Henderson
    A film with this incendiary of a title needed to have more to say about being LGBT in a hostile environment.
    • 67 Metascore
    • 75 Odie Henderson
    While I admit I would have preferred a documentary about the people who have passed this tradition down from generation to generation, director Ricky Staub’s fictional feature serves as a worthwhile introduction.
    • tbd Metascore
    • 38 Odie Henderson
    Horror movies don’t have to make a lick of sense as long as they get under your skin, engage in some intriguing myth making, gross you out, or simply terrify you. The Toll tries to do several of these, failing so badly that you may be angry at yourself for watching it.
    • 63 Metascore
    • 75 Odie Henderson
    Though there’s nothing new or transformative here, The Courier stays afloat due to the acting by Buckley, Cumberbatch, and Ninidze.
    • 35 Metascore
    • 38 Odie Henderson
    How can a movie this visually glossy be so devastatingly uninteresting and dull?
    • 52 Metascore
    • 50 Odie Henderson
    Coming 2 America is like attending your high school reunion: You’ll enjoy seeing the familiar faces of those with whom you once shared such fond experiences, but then you’ll realize that the nostalgia of that past is far more fulfilling than the harsher realities of the present.
    • 82 Metascore
    • 75 Odie Henderson
    The beats play in a suspense thriller’s register, creating a heightened tension that is often unnerving. We are living the story through the eyes of a lover desperate to reconnect with her beloved, and her feelings of desperation, concern and fear bleed directly into the frame.
    • 85 Metascore
    • 75 Odie Henderson
    In Judas and the Black Messiah, Daniel Kaluuya gives an electrifying performance that raises the hairs on the back of your neck.
    • 81 Metascore
    • 88 Odie Henderson
    The archival footage Pollard uses has people saying the same things they’re saying today, and the same negative ideas are being thrown around in regard to the rights of Black and brown people.
    • 83 Metascore
    • 88 Odie Henderson
    This is a very good film, full of memorable performances and thought-provoking speeches and arguments. The accomplishments of King and her actors are even more impressive when you stop to think about the shadows these men cast, both in their real-life incarnations and their cinematic representations.
    • 87 Metascore
    • 88 Odie Henderson
    This is heavy material, to be sure, but it’s not without dark humor.
    • 77 Metascore
    • 75 Odie Henderson
    Even as a standalone feature, this installment falters by keeping its main character at arm’s length. We never get close enough to Alex Wheatle to feel as if we know him. Despite my mild dissatisfaction, I believe that distancing is on purpose, a part of the film’s design.
    • 58 Metascore
    • 50 Odie Henderson
    Uncle Frank commits the unforgivable sin of giving us one evil character whose demise suddenly unleashes a wave of understanding amongst family members who were, until this point, perfectly happy to enforce the harmful status quo that traumatized one of their own.
    • 87 Metascore
    • 88 Odie Henderson
    Boseman never gave less than one hundred percent to his often demanding roles. His work here as the trumpet player, Levee, is no exception. It’s no stretch to say his last performance may be his finest.
    • 40 Metascore
    • 12 Odie Henderson
    Come Away evokes memories of “Radio Flyer,” the equally appalling 1992 child abuse drama where fantasy and cruel reality merged in ways that were shockingly offensive.
    • 20 Metascore
    • 25 Odie Henderson
    All you need to know is that this slow-moving, sci-fi origin story was made by Norwegian co-writer/director André Øvredal, the man who previously gave us the far more entertaining “Scary Stories to Tell in the Dark.”
    • 72 Metascore
    • 88 Odie Henderson
    Though this isn’t very gory, the intensity level is impressive in the haunting scenes, so much so that, at one point, I caught myself watching through my fingers. The sound design also deserves mention, because a haunted house is only as good as its noises, creaks, and moans.
    • 61 Metascore
    • 63 Odie Henderson
    Where Bad Hair is not so successful, however, is in reckoning with the hornet’s nest it kicks regarding its subject matter. At almost two hours, Simien has time to interrogate the natural vs. processed hair argument instead of only hinting at it occasionally.
    • 74 Metascore
    • 38 Odie Henderson
    It’s a slog at over two hours, much of it spent with Marinelli screaming or acting coarse.
    • 80 Metascore
    • 75 Odie Henderson
    Totally Under Control will become a useful document for the study of this pandemic in its eventual aftermath. It’s a bit too surface-level to be completely satisfying, but it was enough to overwhelm and upset me so much that I had to turn it off several times to decompress.
    • 91 Metascore
    • 88 Odie Henderson
    With these scenes highlighting growth and resilience, Time refuses to be some kind of tragedy porn. Sibil and her brood demand justice, not pity. Her strength carries the film and elevates her sons toward success.
    • 84 Metascore
    • 88 Odie Henderson
    Red, White and Blue got under my skin in ways I was not expecting. McQueen uses the police procedural format to interrogate what it’s like to be the only Black person in a hostile and racist job environment.
    • 70 Metascore
    • 63 Odie Henderson
    I prefer, and recommend, the original, but I’m on the fence about this one. Your mileage may vary.
    • 90 Metascore
    • 88 Odie Henderson
    Mangrove becomes a full-on courtroom drama. The standard, expected beats and tropes are hit, but what happens within those elements makes the film so powerful and so rewarding. The lead actors also step up their game here, with each getting juicy dramatic moments that linger long after the credits roll.
    • 70 Metascore
    • 50 Odie Henderson
    Alone gives us little reason to care if our hero makes it out alive, but I have to give credit where it’s due: Jessica isn’t written as some damsel in distress. Though she does make a questionable choice or two, she’s more crafty and engaged than a standard victim.
    • 95 Metascore
    • 100 Odie Henderson
    The viewer is not only a fly on the wall at this party, they are also on the dance floor being carried along as the music moves them.
    • 82 Metascore
    • 75 Odie Henderson
    But the true strength of Residue is in its images. Gerima finds a poetic grace in his framing while forcing you to focus on unexpected things.
    • 78 Metascore
    • 88 Odie Henderson
    All In: The Fight For Democracy is a valuable public service wrapped in an educational, informative and engaging documentary.
    • 65 Metascore
    • 75 Odie Henderson
    I am always game for a movie that makes me reckon with my personal feelings and biases, and I’m glad this one exists because representation will always speak volumes. If nothing else, Critical Thinking reminds you what a chess player can look like.
    • 44 Metascore
    • 25 Odie Henderson
    I suppose director Paula van der Oest was trying to go for some kind of European Gothic feel, but something this unsavory needs to move a lot faster than this. This contraption is slower than molasses in winter.

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