Henry was a rather divisive tale during its release, but I honestly don’t understand why. It is dark, yes, but on a clear trajectory from its outset and with an emotional intelligence that is rare in films, and even rarer in films driven by children.
Jaeden Lieberher (Midnight Special), in the title role, is controlled but never forgets he is a child in a co-dependent relationship. Alongside him is the incredibly capable Jacob Tremblay (Wonder), who consciously takes a back seat in this film to his screen brother, but delivers a great performance nonetheless. In the third child role, Maddie Ziegler(Leap!) rides a very subtle line without ever overplaying her cards. Having three capable young actors driving a movie was a great surprise.
But this isn’t just a tale of the children. The adults around them have equally interesting paths to walk. Prime among them is Naomi Watts (The Glass Castle), who continues to be a conundrum for me. She is a very natural actor who never quite seems natural because she has such charisma and power on screen. This film manages to contain her relatively well, but it wavers at moments. Sarah Silverman (A Million Ways to Die in the West) is surprising as Watts’ best friend; funny, but in a dark and subtle way with a sad, but very real character. Finally, there are Dean Norris (Girlboss) and Lee Pace (The Hobbit: The Battle of the Five Armies) in critical, smaller roles. Both performances are quiet and full of implied layers which fill them out despite minimal screen time.
Colin Trevorrow has had an odd trajectory as director, going from the utterly delightful Safety Not Guaranteed to the overblown and absurd Jurassic Park and now a return to his more indie roots with Book of Henry. While Jurassic has made him a mint, it is clear that, left to his own devices, he can craft and control deeply emotional and complex tales. His execution of Gregg Hurwitz’s first feature script was done with real skill. It is oddly structured in ways that will keep surprising you as it subverts traditional plots.
I know this movie will not interest everyone; it somehow manages to credibly combine the sensibilities of The Young and Prodigious T.S. Spivet and Florida Project and Gifted without a nod or a wink. It captures small-town life and the quiet corruption that can lie beneath, but it isn’t so jaded as to go sour. The performances are near flawless and the story is both timely and effective. In other words, for the right and receptive audience, it is a solid choice.
Side note: I don’t often do this, but I’d waited months to read the Esquire review of this film and feel compelled to link to it. Not because I agree with it all, but there are aspects that are interesting. There are also aspects that make it clear the reviewer wasn’t paying attention, so I have to discount the whole given how intricate the plot is; missing anything is to make it all shaky. Regardless, the reaction is typical of what I was seeing. Do be warned, he retells a lot of the plot, so I’d wait before you read it as I did.