Eric Henderson
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For 26 reviews, this critic has graded:
  • 23% higher than the average critic
  • 0% same as the average critic
  • 77% lower than the average critic
On average, this critic grades 14 points lower than other critics. (0-100 point scale)

Eric Henderson's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 88 Godzilla
Lowest review score: 25 Planes: Fire & Rescue
Score distribution:
  1. Positive: 5 out of 26
  2. Negative: 14 out of 26
26 movie reviews
    • 62 Metascore
    • 88 Eric Henderson
    In form, it's no wham-bam VFX sizzle reel replete with sputtering, ejaculatory climaxes. It's the magnificently sustained equivalent of Ravel's "Bolero," with nuclear warheads in place of timpani rolls.
    • 61 Metascore
    • 75 Eric Henderson
    Freed from the burden of starting anew, the film restores the Muppets' rightful place as stars of their own show.
    • 67 Metascore
    • 75 Eric Henderson
    You can't help but be impressed by how much it represents a natural, even defensive evolutionary step on its creator's part.
    • 71 Metascore
    • 63 Eric Henderson
    Tom Cruise's participation transmutes, as it always does, everything around him, turning the movie's series of false starts, dead ends, and hard lessons into a working metaphor for his own career.
    • 47 Metascore
    • 63 Eric Henderson
    With Travis Mathews's help, James Franco's persona forms a kind of symmetry: 1980's dubious homophobia against 2013's risible homophilia.
    • 76 Metascore
    • 50 Eric Henderson
    It has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
    • 68 Metascore
    • 50 Eric Henderson
    Once the money shots of Darren Aronofsky's version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic. And, ultimately, to assent to it.
    • 48 Metascore
    • 50 Eric Henderson
    The film transcends the déjà vu of its borrowed trappings but ironically sacrifices all momentum in favor of a long series of physical tests.
    • 54 Metascore
    • 50 Eric Henderson
    The expansion has the unintended and unfortunate effect of doing exactly the same thing to Alexander he accused his family of doing in the first place: marginalizing him.
    • 61 Metascore
    • 50 Eric Henderson
    Beyond the forthright identity politics and titillating theatrical misdemeanors, one still comes away wondering about the things that remain concealed.
    • 41 Metascore
    • 50 Eric Henderson
    Unabashedly lefty sentiment colors the whole film.
    • 79 Metascore
    • 50 Eric Henderson
    Steeped in De Palma's glorious violence and sinuous cinematography, but stripped of his tricky sensuality and his anarchic self-reflective wit, The Untouchables boils down to a lot of talk.
    • 59 Metascore
    • 38 Eric Henderson
    The film spent roughly a dozen years in development, and the moronic, corporate detritus from that long time warp is strewn about like so many improbable history lessons.
    • 52 Metascore
    • 38 Eric Henderson
    Ultimately the film is, like the Faux News programming it caricatures at face value, a deck-stacking simulation of a dialogue it isn't even remotely interested in opening.
    • 70 Metascore
    • 38 Eric Henderson
    Despite one or two moments of Venture Brothers-worthy fancy, the film is as by-the-numbers as any this series has ever offered.
    • 42 Metascore
    • 38 Eric Henderson
    If you programmed an algorithm to figure out how The Lawnmower Man might be retold by Snake Plissken at the conclusion of Escape from L.A., you'd still wind up with a more recognizably human effort.
    • 31 Metascore
    • 38 Eric Henderson
    The filmmakers only bother to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
    • 38 Metascore
    • 38 Eric Henderson
    That this retrograde "straight talk" somehow managed to emerge on screen as a reasonably genial ensemble comedy speaks to the strength of its performers.
    • 41 Metascore
    • 38 Eric Henderson
    Jim Caviezel commits only to the level of God-like omniscience that Mel Gibson whipped into him a decade ago, and as such his character often seems less a teacher than an appropriately shadowy figurehead of authority.
    • 44 Metascore
    • 38 Eric Henderson
    And the jury's still very much out over whether Shawn Levy is an inept comedy director masquerading as an opportunistically dramatic one, or vice versa.
    • 40 Metascore
    • 38 Eric Henderson
    Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
    • 38 Metascore
    • 38 Eric Henderson
    Roger Donaldson embellishes an already overly plotty scenario with hollowly attractive genre superfluities.
    • 49 Metascore
    • 25 Eric Henderson
    The net effect is a shapeless would-be diversion in which things just happen independently, a string of effects missing any cause.
    • 38 Metascore
    • 25 Eric Henderson
    Just as Michael Douglas doesn't have it in his guts to make Oren a real son of a bitch (a grandpa Gekko), Diane Keaton's jangled neurotic tics lack any dramatic import.
    • 48 Metascore
    • 25 Eric Henderson
    It's not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
    • 29 Metascore
    • 25 Eric Henderson
    Even permitting that the movie's setup counts almost by default as one of Nicholas Sparks's more complicated scenarios, that makes his failure to draw up compelling, flawed, human characters all the more conspicuous.