Odie Henderson

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Boston Globe, L.A. Weekly, RogerEbert.com, Village Voice
For 666 reviews, this critic has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Odie Henderson's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Blue Heron
Lowest review score: 0 Backgammon
Score distribution:
  1. Positive: 414 out of 666
  2. Mixed: 100 out of 666
  3. Negative: 152 out of 666
666 movie reviews
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    • 83 Metascore
    • 88 Odie Henderson
    Full Time
    From the opening credits to its last shot barely 90 minutes later, the film never eases up on its intensity. Fans of relentless rollercoaster rides like 2019′s “Uncut Gems” and 1998′s “Run Lola Run” will find much to enjoy here.
    • 83 Metascore
    • 88 Odie Henderson
    Evil Does Not Exist
    The ambiguous finale provides neither certainty nor respite, and may prove frustrating for some. I had no idea where Hamaguchi’s cautionary tale was taking me, but I remained intrigued until the bitter end.
    • 83 Metascore
    • 88 Odie Henderson
    One Night in Miami
    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.
    • 83 Metascore
    • 100 Odie Henderson
    BlacKkKlansman
    BlacKkKlansman presents racism as a dichotomy between the absurd and the dangerous; the film’s intentional laughs often get caught in one’s throat.
    • 40 Metascore
    • 38 Odie Henderson
    The Benefactor
    This movie is one big, unsatisfying tease.
    • 63 Metascore
    • 75 Odie Henderson
    The Hand That Feeds
    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.
    • 63 Metascore
    • 50 Odie Henderson
    Blood on Her Name
    Allowing the viewer to piece things together on their own is always welcome, but the film’s desire to surprise and outwit makes it contrived.
    • 82 Metascore
    • 100 Odie Henderson
    Creed
    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.
    • 82 Metascore
    • 25 Odie Henderson
    Peter Hujar's Day
    This movie is a raging, unwatchable bore, filled with unnecessary details and interminable ramblings. Though it runs a mere 76 minutes, it feels like 76 hours.
    • 82 Metascore
    • 100 Odie Henderson
    Hit Man
    Hit Man is one of the year’s best movies.
    • 82 Metascore
    • 88 Odie Henderson
    Ghostlight
    The trio give excellent performances, working together to create a credible family unit. Father and daughter hit their strides during their moments of catharsis onstage, which explains why audiences at Sundance reportedly laughed and cried during the climactic performance.
    • 82 Metascore
    • 88 Odie Henderson
    Riotsville, U.S.A.
    Riotsville, U.S.A. is certainly not an objective documentary. It’s angry and it dares the viewer to argue back. The freeform nature of it may seem faulty, but I felt it served the purpose of forcing me to interrogate what I was being shown.
    • 82 Metascore
    • 88 Odie Henderson
    Maiden
    Maiden excels as a suspenseful sports tale and a record of a historic first, but its biggest strength is in its warts-and-all character study of the Maiden crew. One can’t help but feel seen, moved and empowered once the credits roll.
    • 82 Metascore
    • 75 Odie Henderson
    Two of Us
    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.
    • 82 Metascore
    • 75 Odie Henderson
    Residue
    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.
    • 82 Metascore
    • 75 Odie Henderson
    Small Things Like These
    This is a master class in quiet acting, one that’s hard to shake once the credits roll.
    • 82 Metascore
    • 88 Odie Henderson
    The Holdovers
    The Holdovers feels like a movie Ashby might have made.
    • 82 Metascore
    • 100 Odie Henderson
    Da 5 Bloods
    Lee has crafted an exciting, violent film that can be enjoyed as strictly that, but what elevates it to greatness is what it says and what it shows about the perception of Blackness, whether in heroic situations or human ones.
    • 82 Metascore
    • 100 Odie Henderson
    The Last Black Man in San Francisco
    Jimmie’s story is a slow ballad, a tragic ode, a dirty limerick, a wistful lament and a heartbreaking elegy. It’s a tribute to the notion of home that we all carry. This is one of the year’s best films.
    • 82 Metascore
    • 38 Odie Henderson
    Isle of Dogs
    Isle of Dogs does not have a compelling story, and even worse, it has the most egregious examples of its director’s privilege since “The Darjeeling Limited.” This movie really pissed me off, and the only thing I found soothing while watching it was silently repeating to myself “the dogs are very furry.” Reminding myself of the film’s best asset kept me from walking out.
    • 82 Metascore
    • 88 Odie Henderson
    Hold Your Fire
    The excellent and infuriating Hold Your Fire has all the twists and turns of the best hostage movie thrillers.
    • 81 Metascore
    • 100 Odie Henderson
    13th
    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.
    • 81 Metascore
    • 88 Odie Henderson
    Little Richard: I Am Everything
    By the end of this extremely entertaining and informative documentary, the one thing you will come away with is that Little Richard always presented himself the way he wanted us to see him. And, yes, he was indeed as influential as he always said he was.
    • 81 Metascore
    • 88 Odie Henderson
    MLK/FBI
    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.
    • 81 Metascore
    • 75 Odie Henderson
    Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb
    Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb is commendable for not only being entertaining but for also shining a light on a crucial process we don’t hear much about outside of certain professions.
    • 81 Metascore
    • 100 Odie Henderson
    American Fiction
    The satire isn’t as brutal as it could have been — and perhaps needed to be — but overall, I thought “American Fiction” was a rousing success that got me thinking about my own experiences.
    • 81 Metascore
    • 88 Odie Henderson
    Two Trains Runnin'
    Pollard’s choice to end with a stirring a capella number by Son House still provided the uplift needed to fight another day.
    • 79 Metascore
    • 63 Odie Henderson
    Furiosa: A Mad Max Saga
    It’s a mechanical exercise that lacks suspense, is too long (at 148 minutes, it’s the franchise’s lengthiest film), and is so chockfull of exposition that I took more notes than I’ve done in years.
    • 81 Metascore
    • 75 Odie Henderson
    Premature
    At times, Premature has the same fly-on-the-wall, near-improvisational and casually meandering qualities of a Cassavetes film, though its refreshingly honest and direct depiction of Black sexuality made me think of early Spike Lee or Bill Gunn.
    • 81 Metascore
    • 88 Odie Henderson
    Glass Onion: A Knives Out Mystery
    Craig may be the main character, but “Glass Onion” belongs to Monáe. Johnson has scripted one hell of a role for her, and she plays it with such a wide range of emotions and tones while modeling a stunning array of power suits that she drops the audience’s jaws. Monae’s performance turns on a dime with whiplash precision, so when the film folds in on itself, we grab hold of her hand for dear life. She pulls us along with such glee that it makes one giddy.
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