I won’t describe the action of the film in detail because the less known, the better. Without wandering into spoiler territory, a few things can be noted. It is set in a small East Coast town that looks as safe and bucolic as any Norman Rockwell community. Naomi Watts leads the cast as Susan, a single mother raising two boys. Her first, 10-ish Henry (Jaeden Lieberher, outstanding in “Midnight Special” and “St. Vincent”), isn’t simply precocious, he’s the textbook definition of genius. His mother keeps him in a standard school rather than a gifted kids’ academy to help him develop the skills he’d need to grow up as a healthy, socially oriented, productive adult. And it works: He’s smart without ever being a smartass. His little brother Peter (Jacob Tremblay, exceptional in “Room”) is still developing, but seems more like a standard-issue great child.
Susan clearly loved Henry before he was a prodigy and doesn’t favor him above Peter, even though he handles the family finances like a hedge fund manager and his witty, winning conversations are abnormally precise. Mom stays at work waitressing in the nearby diner, even though Henry’s stock wizardry has made that financially needless. Other than small vices such as playing graphic video war games and drinking with her sassy coworker, Sheila (Sarah Silverman), she is as normal as blueberry pie.
Trevorrow introduces his setting and characters with the warmhearted glow of a Spielberg film that focus on the experience of being a kid. He has a similar aptitude for directing children, yet in large part, “The Book of Henry” is a story about innocence lost and the troubles of reclaiming it. Not all children’s stories provide handy happy endings, and this one falls deeper and deeper down an ever less-lighthearted rabbit hole. It’s no accident that the centerpiece of the film is Watts. Who else can spin empathetic and relatable performances spanning emotions from humor to numbness, despair, joy, confusion and misdirection?
The idyllic neighborhood unexpectedly turns into a menacing battleground, creating a child-in-danger movie with a distinctively Hitchcockian feel. The boys and Henry’s cute classmate and neighbor Maggie (charismatic Maddie Ziegler, from the reality series “Dance Moms”) are increasingly called to look angry, scared and vulnerable, and they are great at it. Henry’s resourcefulness is crucial to addressing the scary situation that develops, but it’s Susan who basically carries the full weight of the audience’s fear. “Henry” slips from a coming of age story for a child to a coming to responsibility story for an adult.
