Henry Stewart

Henry Stewart
Henry Stewart's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine Brooklyn Magazine
Biography:
Henry was born and raised in Brooklyn, where he still lives today. He held a Bachelor's degree in philosophy, but sold it when he discovered that the paper it was printed on was actually more valuable. He now has a Master's degree in journalism, equally worthless.
Favorites:
Vertigo, Annie Hall, City Lights
Critics' Group: Online Film Critics Society
Location: Bay Ridge, NY

Movie Reviews Only

T-Meter Title | Year
63% It Chapter Two (2019) The film argues we're stronger and better when we're home, building communities that can oppress the oppressors and build up so-called "losers." - Slant Magazine EDIT
Read More | Posted Sep 5, 2019
2/4 38% Don't Let Go (Relive) (2019) Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters' communion. - Slant Magazine EDIT
Read More | Posted Aug 30, 2019
2.5/4 79% Scary Stories to Tell in the Dark (2019) Once it gets past what feels like submission to genre demands, the drama reaffirms its focus on the central themes. - Slant Magazine EDIT
Read More | Posted Aug 8, 2019
2/4 83% The Art of Self-Defense (2019) Riley Steans is careful to vindicate karate itself, which might please its admirers but leave everyone else feeling indifferent. - Slant Magazine EDIT
Read More | Posted Jul 9, 2019
1/4 54% Ma (2019) In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors. - Slant Magazine EDIT
Read More | Posted May 29, 2019
3.5/4 93% Us (2019) Jordan Peele's follow-up to Get Out unnervingly speaks to the issues affecting a divided nation. - Slant Magazine EDIT
Read More | Posted Mar 20, 2019
3/4 70% Happy Death Day 2U (2019) Christopher Landon's heady and entertaining sequel is a multiverse murder mystery rooted in experimental physics. - Slant Magazine EDIT
Read More | Posted Feb 13, 2019
2/4 43% The Prodigy (2019) The filmmakers fail to realize that the darkest horror here doesn't lie in the triumph of true evil, but in seeing how far a regular family will go to protect itself before doing the right and necessary thing. - Slant Magazine EDIT
Read More | Posted Feb 6, 2019
3/4 89% The Vanishing (2019) The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren't. - Slant Magazine EDIT
Read More | Posted Dec 30, 2018
3/4 89% Ralph Breaks the Internet (2018) When Ralph Breaks the Internet ignores the glittering marvels of the internet and focuses on the rapport between its two leads, it's deeply moving. - Slant Magazine EDIT
Read More | Posted Nov 14, 2018
2/4 80% Apostle (2018) The film's victims are simply pawns in a super-gory bacchanal, which is aesthetically striking but emotionally dull. - Slant Magazine EDIT
Read More | Posted Oct 11, 2018
3/4 66% Lizzie (2018) The film moves evenly toward a conclusion that feels as inevitable as it does inescapable, while providing a plausible framework for the still-mysterious true crime. - Slant Magazine EDIT
Read More | Posted Sep 12, 2018
1/4 12% Peppermint (2018) If much of Pierre Morel's work to this point scanned as tongue-in-cheek, this one feels like a raspberry. - Slant Magazine EDIT
Read More | Posted Sep 6, 2018
1/4 43% Hot Summer Nights (2018) Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be. - Slant Magazine EDIT
Read More | Posted Jul 20, 2018
3/4 60% Unfriended: Dark Web (2018) The film is preposterously conceived, but writer-director Stephen Susco so tightly, excitingly executes it that you hardly notice. - Slant Magazine EDIT
Read More | Posted Jul 14, 2018
3/4 54% The First Purge (2018) Especially early on, Gerard McMurray often rejects the exhibitionist slaughter that James DeMonaco established as the Purge series's modus operandi in favor of violence that's rawer and realer. - Slant Magazine EDIT
Read More | Posted Jul 3, 2018
100% Chained for Life (2019) Aaron Schimberg mostly avoids advocacy. Chained for Life isn't much of an argument, just a provocative discussion. - Slant Magazine EDIT
Read More | Posted Jun 19, 2018
0/4 No Score Yet Dark Crimes (2018) There's a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic. - Slant Magazine EDIT
Read More | Posted May 14, 2018
1.5/4 16% Blumhouse's Truth or Dare (2018) Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film. - Slant Magazine EDIT
Read More | Posted Apr 11, 2018
93% The Endless (2018) Benson and Moorhead's film first shows the appeal of commune living so that it's all the more unnerving when the amiable façade falls away. - Slant Magazine EDIT
Read More | Posted Apr 1, 2018
2/4 62% Every Day (2018) Throughout, the film raises metaphysical issues of physical and psychological autonomy only to gloss over them, probably because addressing them could too quickly shut down the romance. - Slant Magazine EDIT
Read More | Posted Feb 22, 2018
2.5/4 74% The Ritual (2017) Eventually, the filmmakers reveal the secrets they'd previously withheld, spoiling the film's sustained mystique. - Slant Magazine EDIT
Read More | Posted Feb 4, 2018
1/4 33% Insidious: The Last Key (2018) The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome. - Slant Magazine EDIT
Read More | Posted Jan 4, 2018
1/4 79% All the Money in the World (2017) As released, All the Money in the World is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs. - Slant Magazine EDIT
Read More | Posted Dec 21, 2017
2/4 No Score Yet November Criminals (2017) The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them. - Slant Magazine EDIT
Read More | Posted Dec 2, 2017
2/4 60% Murder On The Orient Express (2017) The film's biggest liberty is to make Hercule Poirot's ultimate decision more palatable for American sensibilities. - Slant Magazine EDIT
Read More | Posted Nov 7, 2017
3/4 93% Most Beautiful Island (2017) Many genre movies in which bad things happen to women end with them fighting back, but here, as people surely would in real life, they just take the money and run. - Slant Magazine EDIT
Read More | Posted Oct 28, 2017
2/4 82% Tragedy Girls (2017) The film's central theme, about where attention-starved narcissism leads when taken to extremes, isn't quite sufficient to sustain an entire feature. - Slant Magazine EDIT
Read More | Posted Oct 17, 2017
1/4 60% Jungle (2017) Greg McLean and screenwriter Justin Monjo faithfully hit the key plot points of Yossi Ghinsberg's 1993 book Back from Tuichi but fail to sell the severity of the threats Yossi confronts. - Slant Magazine EDIT
Read More | Posted Oct 14, 2017
2.5/4 76% Una (2017) The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment. - Slant Magazine EDIT
Read More | Posted Oct 2, 2017
2.5/4 89% Super Dark Times (2017) The transformation of a teen into a serial killer isn't credible compared to the portrait of idle suburban adolescence. - Slant Magazine EDIT
Read More | Posted Sep 24, 2017
1/4 23% Woodshock (2017) It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds. - Slant Magazine EDIT
Read More | Posted Sep 20, 2017
3/4 25% Rememory (2017) The film successfully argues that it's through sensory details that we access the deeper aspects of our lives. - Slant Magazine EDIT
Read More | Posted Sep 2, 2017
1.5/4 28% Camera Obscura (2017) The filmmaker has a bad habit of dropping the psychological inquiries to dully go through the genre motions. - Slant Magazine EDIT
Read More | Posted Jun 2, 2017
2.5/4 84% The Transfiguration (2017) The film is at its strongest when navigating the story's uneasy relationship to its genre. - Slant Magazine EDIT
Read More | Posted Apr 2, 2017
3/4 67% As You Are (2017) The film is, above all, a striking and affecting expression of the desire, repression, and violence. - Slant Magazine EDIT
Read More | Posted Feb 23, 2017
2/4 22% Don't Knock Twice (2017) The film's storylines fail to inform or intensify each other in any theme-deepening or character-developing ways. - Slant Magazine EDIT
Read More | Posted Jan 30, 2017
3/4 77% Split (2017) Split is personal and outlandish, with questionable themes, riveting plotting, somber storytelling, and elegant construction. - Slant Magazine EDIT
Read More | Posted Jan 18, 2017
81% The Founder (2017) This admiring, outrageous movie, as phony as the food it glorifies, celebrates Kroc's Trumpness. - Brooklyn Magazine EDIT
Read More | Posted Jan 17, 2017
89% The Man Who Saw Too Much (2015) Meta true crime, not about the criminals but the documentarians...provocative...great pleasures - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
80% Beware the Slenderman (2018) At its most absorbing at its most sensational, but its moral is less outrageous than its details. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
95% Sour Grapes (2016) An artful piece of schadenfreude, in which the uniquely obnoxious, wine-swirling rich are bamboozled, embarrassed and jailed. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
100% Killing for Love (Das Versprechen) (2017) Familiar and satisfying...continues in the "New True Crime" tradition. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
83% Saturday Night Fever (1977) Contemptuous of the community it phonily purports to depict. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
87% Henry: Portrait of a Serial Killer (1986) The director's artistry overshadows his grind house titillations, though they're still to be found aplenty...not just grim and gross or even disturbing; it's hurtful. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
100% The Petrified Forest (1936) Darker looks have never been cast on celluloid. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
21% Brainscan (1994) The hero, Michael, says horror is just escape, but the movie doesn't agree with him, pinning violence and its moral responsibility on him when all he wants to do is watch. - Brooklyn Magazine EDIT
Read More | Posted Nov 9, 2016
99% Tower (2016) Tower asks us to resee its tragedy in a way a traditional documentary never could. But it also asks us to resee all tragedies, especially the ways we inure ourselves to them. - Brooklyn Magazine EDIT
Read More | Posted Oct 12, 2016
58% The Transformers - The Movie (1986) By far the best toy commercial ever made. - Brooklyn Magazine EDIT
Read More | Posted Jul 27, 2016
76% Lights Out (2016) Horror isn't as easy as James Wan makes it look--David Sandberg is capable but not masterful, and LIGHTS OUT is scary but never terrifying. - Cinepinion EDIT
Read More | Posted Jul 27, 2016