Odie Henderson

Honey Don’t!, the neo-noir by director Ethan Coen and his wife, co-writer Tricia Cooke, is an unsatisfying mishmash of plot threads that neither intrigue nor coalesce.

The Outside Story is barely 85 minutes long, but Henry's performance is rich enough to make this small film feel rather epic.

It felt like I was watching a Wayans Bros. movie instead of one that expected me to take the ideas of dying and grief seriously.

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.

Of an Age successfully captures the fear that the object of one’s queer affection may be straight and unwilling to reciprocate.

Ultimately, Joy Ride is an uneasy melding of “Girls Trip” and “Return to Seoul”; it’s two pieces that work well by themselves but clash when forced to collaborate.

This Denzel Washington family affair (Washington and his daughter, Katia, produced it, his son directed it, and his other son plays the lead) is well worth watching. It captures the spirit of Wilson’s magnificent prose, moving the audience the way the author intended.

A film with this incendiary of a title needed to have more to say about being LGBT in a hostile environment.

There’s a bittersweet poignancy in watching the children bond with animals and people during their travels before beginning the next leg of their journey.

It’s a fable that ties up too neatly to be believed, and it’s a story I’m tired of hearing.

Though I could easily predict what’s coming next in Carry-On, that didn’t stop me from having a good time. The twists were executed successfully, and I liked that the heroic characters did some unlikable things in order to save themselves.

Marty, Life Is Short allows you to be a fly on the wall for all that relentless merriment while reminding you to enjoy your own life while you can.

Would you enjoy a movie where Warren Buffet robs a bodega — and kicks the bodega cat for good measure? Because that’s what American Animals feels like.

Though it doesn’t break any new ground, “The Wedding Banquet” does occasionally zig when you expect it to zag. These moments, along with the performances and the unobtrusive direction by Ahn, make this a successful and fun remake.

With this entertaining, funny, and informative movie, McKenzie can add documentary filmmaker to his CV. I doubt it will convince anyone who has bought into the legends of cryptocurrency to change their outlook, but skeptics will definitely get a kick out of this three year journey, which started during the pandemic in 2020.

This Looney Tunes mega-fan went in fearing the worst, and came out happy that I took that left turn at Albuquerque.

This isn’t really for kids (I’d say it’s PG-13 level), and it’s so entrenched in its country’s myth-making that I wonder if sheer spectacle alone will be enough to entice American viewers.

To feel seen is a potent, potentially life-changing emotion, and only those who were never in the dark would have a moral problem with it. Rafiki makes this serious point quite effectively, never losing its ebullience.

Movies like Just Mercy spoon-feed everything to the viewer in easily digestible chunks that assume you know nothing, or worse, don’t know any better.

Seeing Superman save, and work with, more than just white people is refreshing, but it really struck a nerve with fans who rely only on hearsay. Gunn doesn’t care if you’re offended; he’s too busy showing us a good time. “Superman” is a surprisingly entertaining reboot.

The cooking scenes comprise the best moments in this episodic film.

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.

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.

Despite the fine acting, Rustin is still a standard-issue biopic that traffics in the expected tropes. It’s the film’s perspective that elevates it, as no major movie has witnessed this era through the eyes of a gay man. I did find myself wishing it were a bit grittier; there’s a level of optimism flowing through the film that threatens to dilute some of its darker elements.

It’s simultaneously cathartic and heartbreaking.

Akilla’s Escape is undone by its own lack of faith in the viewer, opting to explicitly tell rather than rely on its fine actors to show us who their characters are.

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.

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.