Odie Henderson

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For 107 reviews, this critic has graded:
  • 60% higher than the average critic
  • 0% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Beyond the Lights
Lowest review score: 0 Backgammon
Score distribution:
  1. Positive: 65 out of 107
  2. Negative: 27 out of 107
107 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 75 Odie Henderson
    '71
    Last seen in “Starred Up” and Angelina Jolie’s “Unbroken,” O’Connell continues to bring equal measures of toughness and vulnerability to his characters. Despite his good looks, there’s an everyman’s quality to him, which he uses to full effect in ’71.
    • 52 Metascore
    • 75 Odie Henderson
    Chism's cast is game for her shenanigans, and the biggest pleasure of "Peeples" is watching them cut loose under her direction. This movie has one hell of a cast.
    • 38 Metascore
    • 75 Odie Henderson
    In the current economy, Monopoly makes a more appropriate board game upon which to base a horror movie, but for what it is, Ouija is better than expected.
    • 72 Metascore
    • 75 Odie Henderson
    As for the fights: There are plenty of well-choreographed battles in The Final Master. The award-winning choreography eschews wire work, keeping the action sequences squarely on the ground.
    • 60 Metascore
    • 75 Odie Henderson
    Hollywood remains terrified that the hunky male product they’re selling to millions of swooning women might turn out to be gay, and “ruin the fantasy” these fans supposedly covet. One can only wonder if an openly LGBT actor can be as huge today as Tab Hunter was in his day. The verdict is still out on that.
    • 58 Metascore
    • 75 Odie Henderson
    Nerve wants to be a cautionary tale about the perils of desiring fame through social media, but it isn’t willing to go to the darker depths this material requires. It opts to stay on a more superficial and very goofy level, and while that has its enjoyable charms, it pretty much negates the film’s message.
    • 66 Metascore
    • 75 Odie Henderson
    The plot description is a good old-fashioned okey-doke, a distraction that lulls you with its absurdity so you’ll be blindsided by the lean, suspenseful and effective movie director Jon Watts delivers.
    • 70 Metascore
    • 75 Odie Henderson
    Raiders! is a love poem to film geeks everywhere, giving them heroes whose own geekdom is a pinnacle of aspiration.
    • 59 Metascore
    • 75 Odie Henderson
    This is the rare film written, directed and edited by women.
    • 63 Metascore
    • 75 Odie Henderson
    It has a beautiful, low-key approach that earns its cheers and tears without resorting to the manipulative or dramatic tricks of a typical feature film.
    • 35 Metascore
    • 75 Odie Henderson
    This has to be an intentional wink from Stallone and his contemporaries. They know their days are not only numbered as action stars, but probably should have ended long ago.
    • 55 Metascore
    • 75 Odie Henderson
    You've seen all this before, and many times. 2 Guns works because it's essentially several riffs on familiar material. Cliché is not a bad thing if it's done right.
    • 67 Metascore
    • 75 Odie Henderson
    The Green Prince gets its power from the back-and-forth of listening to each side tell its story, and from the moment the two sides converge in a final, very different collaboration in the United States.
    • 70 Metascore
    • 75 Odie Henderson
    This is quite a good sports documentary, moving and unafraid of making you work for its pleasures.
    • 69 Metascore
    • 75 Odie Henderson
    If A Life in Dirty Movies had a tagline, it would be “Come for the sex, stay for the love story.” It’s a deeper, more rewarding experience than its title suggests.
    • 62 Metascore
    • 75 Odie Henderson
    While I remain disappointed that the sequel gives me a subdued Gru and an uneven pace, I keep remembering things about Despicable Me 2 that make me smile. For every meh moment, there's almost 2 well-conceived gags or lines.
    • 65 Metascore
    • 75 Odie Henderson
    What it does explore makes it a satisfying, lighthearted look at one man’s search for perceived vocal machismo.
    • 68 Metascore
    • 75 Odie Henderson
    As a documented record of Hill's story and her achievements, Anita is a serviceable, at times riveting documentary.
    • 51 Metascore
    • 75 Odie Henderson
    A Five Star Life shows something not often seen in American cinema, at least in films that aren’t police procedurals: It shows an ordinary citizen doing her job.
    • 47 Metascore
    • 75 Odie Henderson
    In Secret is a costume drama with a gigantic accent on the drama. It's my kind of crazy, and I was quite entertained. To borrow again from Shakespeare, "'Tis Madness, but there's method to't."
    • 70 Metascore
    • 75 Odie Henderson
    A charming, informative and funny documentary.
    • 56 Metascore
    • 75 Odie Henderson
    It’s relentless in its depiction of the slapstick-infused shenanigans that will keep the little ones entranced in their seats.
    • 57 Metascore
    • 75 Odie Henderson
    Ip Man 3 also sneaks in welcome moments of mushy romantic sweetness between Master Ip and his wife, Cheung Wing-sing (Lynn Hung).
    • 64 Metascore
    • 75 Odie Henderson
    The true measure of a good tale is in the telling, and writer-director Noah Buschel spins his yarn in an unexpected, ultimately satisfying fashion.
    • 73 Metascore
    • 75 Odie Henderson
    Olympic Pride, American Prejudice tackles its subject in a straightforward manner freed from dramatic license and the fear of box office failure.
    • 64 Metascore
    • 75 Odie Henderson
    Even if you lack a wealth of rap knowledge, Sample This is still worth seeing. Like "20 Feet from Stardom" and "Standing in the Shadows of Motown," it focuses on the studio musicians whose contributions are well-known but whose identities are not.
    • 62 Metascore
    • 75 Odie Henderson
    The film's best asset, and the thing that elevates it above the 1986 version, is how well it is cast.
    • 66 Metascore
    • 75 Odie Henderson
    It’s Mortensen and his smokes that seal the deal. Puffing away, he is dangerously sexy and morally dubious, the latter of which makes perfect sense as we are in Patricia Highsmith territory.
    • 68 Metascore
    • 63 Odie Henderson
    People Places Things treats its characters a lot messier than most romantic comedies, which makes it delightful at times. It also makes it disappointing when the film falls into the same traps that plague romantic comedies.
    • 59 Metascore
    • 63 Odie Henderson
    Champs is a documentary that wants to say something sociological about the sweet science of boxing. In this regard, it has an undeniable power.
    • 66 Metascore
    • 63 Odie Henderson
    At 105 minutes, Elstree 1976 became a bit of a slog for me. Visually, the talking heads-style of documentary can be very dull.
    • 56 Metascore
    • 63 Odie Henderson
    Race takes a complicated, messy story and shapes it with the bland cookie-cutter mold too often seen in the biopic genre.
    • 52 Metascore
    • 63 Odie Henderson
    Maggie” is Schwarzenegger’s “Cop Land,” that is, a feature designed to highlight and showcase that which an action movie hero could only hint at in glancing moments between explosions.
    • 40 Metascore
    • 63 Odie Henderson
    I really enjoyed listening to Statham talk. His fight scenes have their predictable, violent payoffs, but his rambling monologues are unexpectedly, gloriously entertaining. This film’s tagline should be “Come for the stabbing, stay for the gabbing!”
    • 70 Metascore
    • 63 Odie Henderson
    In surveying this setting, one might think Almost There is a documentary about impoverished, elderly folks who have sadly fallen through the cracks in the system. Instead, it’s an uncomfortable journey through the later life of an artist, a warts-and-all look at the filmmakers’ process that fails to get past its most troublesome wart.
    • 47 Metascore
    • 63 Odie Henderson
    I did my homework and watched the original "RED." It was just as stupid as this movie, yet I liked it a little more.
    • 35 Metascore
    • 63 Odie Henderson
    Grudge Match belongs to a fast-growing genre I'll call "Senior Citizen Action Porn," or SCAP. Proud members of SCAP include "Red" and its sequel, "Red 2," the "Expendables" series, and the best of the 2013 crop, Arnold Schwarzenegger's "The Last Stand."
    • 57 Metascore
    • 63 Odie Henderson
    Those looking for a courtroom drama or the emotional tugging that might result from a mother’s 30-year fight to get justice for her daughter will find little to chew on here.
    • 49 Metascore
    • 63 Odie Henderson
    Twohy's script contains macho dialogue so ripe it's embarrassing to hear it.
    • 72 Metascore
    • 63 Odie Henderson
    Dope alternates between being shockingly tone-deaf and surprisingly on-point.
    • 69 Metascore
    • 63 Odie Henderson
    It primed me for a deeper discussion on how “clothes make the man,” then disappointed me by devolving into a huge commercial for fashion designers past and present.
    • 54 Metascore
    • 63 Odie Henderson
    As they discuss "how much this strip meant to me," I got the sense that Dear Mr. Watterson was as uninterested in them as I was; they're not even identified.
    • 37 Metascore
    • 63 Odie Henderson
    With a bigger budget and a longer runtime, Cell could easily have been elevated above its current station as a worthy 2 AM viewing on cable — not that there’s anything wrong with that. It’s cursed with some really cheap CGI, but blessed with actors who are game for, and respect, the material.
    • 42 Metascore
    • 50 Odie Henderson
    There’s a lot more nonsense here, all of which starts out intriguingly before overstaying its welcome.
    • 53 Metascore
    • 50 Odie Henderson
    Big Ass Spider! wants to serve two masters, the ones who unabashedly enjoy this type of movie without shame, and the ones who openly mock it with false senses of superiority.
    • 49 Metascore
    • 50 Odie Henderson
    As tedious as Set Fire to the Stars gets, it remains watchable courtesy of the stunning black and white cinematography by Chris Seager.
    • 63 Metascore
    • 50 Odie Henderson
    I cop to not being a fan of Lynn Shelton’s work. Her films fall apart in their third acts. Rather than simply crumble as they have in her prior work, the third act of Laggies implodes in grand fashion, spewing contrivances, bad clichés and an ending that is simply unforgivable.
    • 50 Metascore
    • 50 Odie Henderson
    Daldry’s latest, Trash, co-directed with Christian Duurvoort, not only pitches the same Academy woo, it shamelessly mimics Best Picture winner “Slumdog Millionaire.”
    • 39 Metascore
    • 50 Odie Henderson
    Like a bad '80s flick, Stage Fright, could have been so much fun.
    • 50 Metascore
    • 50 Odie Henderson
    The film’s heart is in the right place, but its focus is not.
    • 47 Metascore
    • 50 Odie Henderson
    Unlike the recent "God’s Not Dead," which is the "Beaches" of faith-based films in that it embodies every single complaint against its genre, Heaven is for Real attempts to cast a wider audience net.
    • 54 Metascore
    • 50 Odie Henderson
    The singing talent is there, but Eastwood and writers Marshall Brickman and Rick Elise opt for a more realistic depiction of events. They transform Jersey Boys from jukebox musical to movie biopic, exchanging one much-maligned genre for another.
    • 59 Metascore
    • 50 Odie Henderson
    An outrageously dull documentary.
    • 55 Metascore
    • 50 Odie Henderson
    The Gambler should have been called “Three Supporting Characters in Search of a Lead.” A gaunt Mark Wahlberg stares out from the poster, his name is above the title, and he’s in almost every frame of this remake, but his character may as well be non-existent.
    • 73 Metascore
    • 50 Odie Henderson
    Horror ultimately gives way to irritation as the film veers into violent shock tactics and misplaced blame. What begins as a righteous indictment devolves into an unnecessary vendetta.
    • 42 Metascore
    • 50 Odie Henderson
    The Woman in Black 2 might have served as an effective tribute to movies like "Curse of the Cat People." That is, if it hadn't completely squandered all this goodwill in its last third.
    • 71 Metascore
    • 50 Odie Henderson
    Truth be told, Get on Up isn’t really interested in exploring how important Brown’s music was to any of the numerous styles it influenced. Instead, it just wants to play some of the big hits you love while ticking off a checklist of standard biopic milestones.
    • 29 Metascore
    • 50 Odie Henderson
    Imagine the most overdone, Philip Glass-style horror movie music playing over glossy footage of a university art class, and you have some idea what your eyes and ears are in for while attending The Time Being.
    • 30 Metascore
    • 38 Odie Henderson
    The Hangover Part III plays more like a caper film — “Alan’s Eleven,” perhaps — than a comedy. While Phillips ably handles the action sequences, he and co-screenwriter Craig Mazin can’t juggle both genres in the screenplay.
    • 58 Metascore
    • 38 Odie Henderson
    I Declare War is like high school English class, rife with confusing symbolism and full of sound and fury that ultimately signifies nothing.
    • 37 Metascore
    • 38 Odie Henderson
    Science fiction is often used in allegorical fashion. It may not be fair to judge Automata by this gauge, but the film is so deathly somber and heavy-handed that I can only assume director Gabe Ibáñez wanted to tell us Something Important.
    • 58 Metascore
    • 38 Odie Henderson
    Sure, the events are scrambled, with minor changes here and there, but if you know what happens in “Madame Bovary,” you will not be surprised by this film. In fact, you’ll probably be as irritated as I was by Gemma Bovery’s attempts to be clever and meta.
    • 40 Metascore
    • 38 Odie Henderson
    This movie is one big, unsatisfying tease.
    • 53 Metascore
    • 38 Odie Henderson
    Wait for this to show up where it belongs — on cable.
    • 26 Metascore
    • 38 Odie Henderson
    There is little else worth mentioning about this derivative, clunky, haphazardly written and visually dull sports movie except the performances by Christopher McDonald and Michael Nouri.
    • 67 Metascore
    • 38 Odie Henderson
    Unfortunately, The Stanford Prison Experiment is a dramatization, and no matter how much it may adhere to the well-documented specifics of Zimbardo’s work, it is a massive failure.
    • 58 Metascore
    • 38 Odie Henderson
    As a techie, I expected more from Creative Control.
    • 66 Metascore
    • 38 Odie Henderson
    A sex comedy that just lays there and expects you to do all the work. Gordon-Levitt's direction is repetitive and dry, and his screenplay is a collage of badly cut out pieces from other movies.
    • 44 Metascore
    • 38 Odie Henderson
    You may think it unfair that I make comparisons between "Starbuck" and Delivery Man. Truth be told, my rating is higher because I'd seen "Starbuck." Had I not, Delivery Man would have been intolerable.
    • 40 Metascore
    • 38 Odie Henderson
    The ultimate invasion of its subject's privacy.
    • 49 Metascore
    • 38 Odie Henderson
    Unfortunately, Words and Pictures fails at portraying both titular nouns.
    • 45 Metascore
    • 38 Odie Henderson
    Five Nights in Maine is as evasive as a corrupt politician. Its coyness about what’s truly in its heart of darkness is either cowardly or lazy, or some measure of both.
    • 35 Metascore
    • 25 Odie Henderson
    Its plot is an unholy blending of “Taken," “The Searchers” and "Angel Heart." As befitting a January release, it’s also an early candidate for the 2016 worst movies list.
    • 36 Metascore
    • 25 Odie Henderson
    Best Man Down is billed as a "warm and funny comedy," a subjective description with which I do not agree. I would not consider this a comedy, let alone a warm and funny one. There are no laughs, and most attempts at humor are mean-spirited or embarrassing.
    • 71 Metascore
    • 25 Odie Henderson
    Watching Drinking Buddies is like being the designated driver for a most uninteresting bunch of drinkers.
    • 25 Metascore
    • 25 Odie Henderson
    This is an astonishingly bad film.
    • 28 Metascore
    • 25 Odie Henderson
    Ghost Team is neither scary nor funny.
    • 36 Metascore
    • 25 Odie Henderson
    There’s a rather disturbing sense of privilege in After the Fall. It can’t help but justify Ben’s actions by stacking the deck against the victims.
    • 47 Metascore
    • 25 Odie Henderson
    Watching Hercules, you can feel your intelligence being insulted in almost every frame.
    • 39 Metascore
    • 25 Odie Henderson
    The resulting mishmash is as exciting as getting a tow from AAA, and just as slow.
    • 32 Metascore
    • 12 Odie Henderson
    The word convoluted does no justice to just how poorly designed Girl on a Bicycle is. It is also stereotypical, unfunny, unromantic, absurd, sitcomish, insulting to several European ethnicities and a slave to what Roger Ebert used to call "The Idiot Plot Syndrome."
    • 17 Metascore
    • 12 Odie Henderson
    A Haunted House 2 tones down the gay jokes but ups the streak of animal cruelty.
    • 37 Metascore
    • 12 Odie Henderson
    It’s tedious at best, almost unwatchable at worst.
    • 27 Metascore
    • 0 Odie Henderson
    You’ll see some durable makeup in Nina. What you won’t see is any justification why this film should exist.
    • 22 Metascore
    • 0 Odie Henderson
    If you came looking for the psychological sexing, or even just regular, good old fashioned erotic screwing, you’ll find it only if you’ve brought it to the theater yourself.