Movie Review: ‘Henry Johnson’

by | May 10, 2025 | Featured Post, Movie Reviews, Movies | 0 comments


Greetings again from the darkness. Show or tell … films tend to lean one direction or the other. Visuals are obviously the key to the popularity of superhero movies and comic book adaptations, while on the other end of the spectrum we have ‘Mamet-speak.’ David Mamet is a Pulitzer Prize winning writer who has been nominated for Oscars, Tonys, and Emmys. Best known for his rapidly-paced labyrinthian dialogue, Mamet is known for both his stage and screen projects.

His 1976 play “Sexual Perversion in Chicago” was adapted into the film, ABOUT LAST NIGHT (1996), while possibly his best known stage-to-screen adaptation was GLENGARRY GLEN ROSS (1992), which was directed by the recently deceased James Foley). Other well-known Mamet screenplays include THE POSTMAN ALWAYS RINGS TWICE (1981), THE VERDICT (1982), THE UNTOUCHABLES (1987), WAG THE DOG (1997) and HANNIBAL (2001). Mamet has also directed some of his own screenplays: HOMICIDE (1991), THE SPANISH PRISONER (1997), and STATE AND MAIN (2000). I also must mention one of my favorites, his underappreciated 1987 film, HOUSE OF GAMES.

Since it’s been about 17 years since he last directed a feature film, it seemed fitting to post a bit of a David Mamet history lesson. For this one (he again adapted from one of his plays), he directs a small cast working with an enormous script of dialogue. There are basically four sequences, the middle two combine for Act II. A mesmerizing 23-minute opening sequence finds Mr Barnes (Chris Bauer, “True Blood”) in a rapid-fire debate with his employee, the titular Henry (Evan Jonigkeit, wearing what I believe to be Mamet’s eyeglasses). The conversation is two-sided as the men discuss the finer points of the law, among other things – including a decision Henry made regarding an old friend. As the scene ends, we viewers and Henry get a big surprise from Barnes.

The next two sequences find Henry taking in the philosophy and life lessons from his cell mate Gene (Shia LaBeouf). This follows Barnes’ comment from earlier when he reminded that one of the signs of a psychopath is immense charm. Henry is clearly taken in by all Gene has to offer – both in their cell and in the prison library, as they analyze the role of fear and other crucial lessons that master manipulator Gene is inclined to share. The final sequence is a tense standoff with an armed Henry holding prison guard Jerry (Dominic Hoffman, Mamet’s REDBELT, 2008). Again, we find someone offering advice and counseling to Henry, who seems mostly capable of being taken advantage of and making poor decisions. Henry tells him, “Do what you want – people generally do.” And I do hope Mamet lovers will check this one out and bask in the Mamet-speak that we are too rarely treated.

Available VOD beginning May 9, 2025

David Ferguson
Latest posts by David Ferguson (see all)