The Book of Henry

The Book of Henry

Naomi Watts stars as Susan, a single mother of two, working as a waitress in a small town. Her son, Henry, is an 11-year-old genius who not only manages the family finances but acts as emotional support for his mother and younger brother. When Henry discovers that the girl next door has a terrible secret, he implores Susan to take matters into her own hands in this imaginative and emotional drama.

A young genius develops a detailed plan to rescue his abused classmate that he memorializes in a notebook. After his death, his mother follows the instructions carefully crafted in the notebook to set out to rescue the young girl. . You can read more in Google, Youtube, Wiki


The Book of Henry torrent reviews

Steph W (us) wrote: Well done documentary. Although I spent half the time crying my eyes out (I'm a sap), it was a touching movie (obviously) and an interesting perspective on pet ownership.

Niels S (de) wrote: Simpelthen verdens bedste film. Jeg elsker den!

Sam O (kr) wrote: This felt like the child of Halloween and High Tension. It has it's moments and a great twist ending. Overall probably one of the best horror movies on Netflix Instant Queue from what I've seen thus far.

Ryan J (ru) wrote: I have to pick a medium rating for this because the main couple infuriated me the whole time while, Scot, their eventual child, was adorable. I'm supposed to be objective when reviewing movies, but the self-depreciating, masculinity-obsessed queers just rile me up. The can shares lives and a giant house, but they can't even say they're gay out loud to most people. These people do exist, and I guess it's good someone noticing their existence with this movie. Bias aside, this is your pretty average movie with your typical rebel-child meets-conservative-parents. We've all seen it before: The parents try so hard to change the kid, but the kid ends up changing them. The only difference in this is case is it's a butch queer couple with a very effeminate kid. Tom Cavanagh acts remarkably well for this type of movie. Whether you agree with his identity throughout the movie or not, he brings it to life with honesty and wit. But Noah Bernett as Scot is the real star here. He's incredibly adorable and as flamboyant as possible. He has a lot of heart for a child actor, and his interpretation of Scot is charismatic and fun to watch. The direction of the film is nothing special. In fact there are quite a few technical flaws. During the first scenes in which Scot moves into his new home, you can see a boom mic stretching from the stairs to hang over the actors. And something black kept entering the top of the frame. I don't know if it was a loose lens hood or what, but it kept distracting me. You would think a director would catch all these.But on the plus side of the production, there are some interestingly framed shots. Laurie Lynd, the director uses numerous frames and symmetrical shots to give this story a boost. She's much better with letting the camera sit still than she is with moving it. I was in fact impressed a medium film director would let an actor walk in and out of a frame twice during one shot as she did when Tom (Cavanagh) gets ready one morning early in the film. In the end, "Breakfast with Scot" is very much like a Christmas film, even though Christmas is not the center storyline. You have your one threadbare storyline and little development, but everything works out in the supposed heartwarming end.

Lynn R (fr) wrote: I wish I could say I liked this movie, but I was frankly bored with it. I also had a hard time figuring out why the daughter disliked her father. Maybe if I watched it again, I could get some deeper meaning from it. Nah.

Justin L (au) wrote: Over the top action? Check. Jason Statham growling threats? Check. Complex narrative? Hahaha! No, but it's still a solid action movie.

Grayson W (ca) wrote: The first half feels like it was written by a middle schooler, but that's okay. You could literally start the movie half way in and not miss any necessary information or plot points; it's really just a drawn out bro fantasy of what the Netherlands are like. Then the movie actually gets started and interesting things start happening that make up for all the dumbness.

Adam R (us) wrote: (First and only viewing - 7/12/2010)

Eric H (kr) wrote: The original reel should be burned, so that this movie does not waste anyone's time.

Domenico L (nl) wrote: Dull, sloppily scripted, shot and edited tale, set in rural Quebec during the Christmas season, takes its' sweet time getting around to focusing on young Benoit and his relationship with his uncle Antoine.Promising start focuses on a man named Joe, who is sick of working for an English Asbestos mining company, so much so, that he decides to leave home (apparently not the first time) to go off and join a logging camp for six months. The scene where his wife finds out and they end up making love one last time before he goes is touching and romantic - the choice not to use dialogue a wise one.Unfortunately, the story switches focus to a General Store, owned by Antoine, and its' collection of employees who are not terribly interesting and barely sketched in as people in the first place. Failing to juggle multiple characters with any kind of wit or finesse, the film loses its' focus and scenes drag and lack power and opportunities to exploit dramatic situations are botched or ignored altogether.The last forty minutes are the most effective, as they concern Benoit and his uncle Antoine's journey by horse and sleigh to recover the body of Joe's fifteen year old boy - who fell ill and died. General store indeed. While this journey leads to Benoit's awakening to his own mortality and his loss of innocence - particularly concerning his faith in his own Uncle and Aunt as figures of authority - it also suffers from a lack of richness in the writing and shooting and, most importantly, in the performance of the actor playing Benoit. Though he seems physically ideal for the role, his performance is wooden and doesn't draw you in emotionally. It's place on many a Top Ten Canadian Film list is a mystery worthy of Sherlock Holmes.

Peter H (gb) wrote: Great samurai entertainment, but ultimately falls short of being a genre masterpiece.

Brandon R (ag) wrote: It has fun moments, but it's nothing special. It's worth watching once, but keep in mind that it has no cinematic merit.

Blake P (es) wrote: "Look," a movie director (Dennis Franz) frankly says to his leading actor, Jake Scully (Craig Wasson). "I got a picture to make here. I got 25 days to make it. I have no time to wait around for a claustrophobic vampire who freezes every time he lays down in a coffin." Scully is a young, struggling actor, good-looking, nice enough, but just passable when it comes to star power. He has landed a leading role as a vampire, true, but it's only a B-picture. One can hope for the best as he dons gaudy, glittery eye makeup and a pair of fangs that makes Bela Lugosi seem like a Dardenne Brothers figure. His staggering claustrophobia only makes things worse. As his professional life limps along, things only get worse when Scully discovers his girlfriend in bed with another man, which, in response, leave him homeless and alone. A fellow actor (Gregg Henry) offers him the chance to stay at his house for a few days, a house of fiendish tackiness that sits on top of a hill and looks like the Seattle Space Needle had a baby with a spaceship. Across the way is a mansion inhabited by a stunningly beautiful woman (Deborah Shelton) - Scully is able to watch her undress as his friend has equipped a telescope overlooking the balcony. If you've had a filling serving of Alfred Hitchcock movies, I'm sure you can only guess where the film is going. "Body Double" is "Rear Window" junior and "Vertigo" the second, except with a lot more blood, sex, nudity, and enough tawdriness to top off a jumbo sized popcorn bin. One night, as Scully peeps on his new neighbor performing her nightly striptease, he notices a deformed looking man perched on the satellite dish in front of her home, watching her with a murderous thirst in his eyes. Skip to a few days later, the woman is brutally murdered in her bedroom, with Scully as the sole witness. The police (of course) laugh at him, passing him off as a paranoid pervert. But his neighbor's death leads him to a number of startling discoveries, the most shocking turning toward the world of pornography, where he enlists the help of actress Holly Body (Melanie Griffith) to find out the truth in the bizarre slaughter. Hitchcock had a fascination with hot blondes, armed-and-dangerous camera angles, and ever-present danger. Brian De Palma, billed as the Master of the Macabre in his heyday, likes all that, but he doesn't want to turn himself into a carbon copy of cinema's most predominant suspense filmmaker. De Palma's own "Dressed to Kill," "Sisters," and "Blow Out" (let's stop talking about "Carrie" and "Scarface" for a minute) were jaw-dropping in their stylistic dexterity, their stories borderline ridiculous yet efficient when connected with such electric visuals. "Body Double" is no different, even if it is sillier than some of De Palma's other efforts (which is saying something, considering "Dressed to Kill" gave the then 49-year old Angie Dickinson a blatantly obvious 20-something year-old body double, put Michael Caine in drag, and ended with a was that all just a dream? startler). The plot twists are sometimes inane, and sometimes too coincidental to truly be stunning, but De Palma is so self-assured that it isn't hard to make us want to just go with it. I have been purposefully vague when retelling plot points because so much of the film's success lies in its slimy thrills, but the style is something worth noting - "Body Double" shows the director at his optical peak. Early in the film, Scully, sensing his neighbor is in trouble, follows her to a Los Angeles mall, her actual soon-to-be attacker lurking in every nook and cranny. In the past, De Palma has payed great attention to split-screens and close-ups, but the entire sequence is notable for its remarkable combination of voyeurism and open space. There are three buzz characters moving around the complex all at once, with the camera sometimes peering onto them from above, most impressively when they walk on different floors. Without much dialogue to back it up, the scene rattles with tension. Will danger catch up in this game of cat-and-mouse? There are even more visual kicks (particularly the simultaneously laughable yet hugely ingenious moment where Scully and his neighbor run into each other, after he's been following her around for hours, embrace in fiery passion, the camera spinning around them with merry-go-round delirium), but the theme of voyeurism in "Body Double" is what makes the film such a wild experience. It's almost always uncomfortable - in every scene, you feel as if you shouldn't be there, as if you're intruding on something deeply private. The storyline may not always be strong (or even truly believable), but "Body Double" is about style, tone and mood. In that sense, it's more than convincing.

Brandon S (nl) wrote: Hester Street is about a woman that comes to America in the late 1800's to find out that her husband has completely changed and is now a womanizer. For a period piece the locales look a little fake, the look at the relations of Russian Jews at the turn of the century is interesting, but the main focus of the film is Carol Kane's portrayal of a woman lost in a new world.

Steve S (ca) wrote: ***Due to the recent RT changes that have basically ruined my past reviews, I am mostly only giving a rating rather than a full review.***

Christopher B (ag) wrote: Docu-drama about one of the most pivital battles of the Pacific. Several of the cast (or their friends & family) fought in WWII which adds to the realism.

Ben E (nl) wrote: At times, hilariously odd and bad but amazing nonetheless. Over-the-top and excruciatingly violent, Bronson tackles the white buffalo along side Crazy Horse himself.