For 135 reviews, this critic has graded:
  • 31% higher than the average critic
  • 2% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Eric Hynes' Scores

  • Movies
Average review score: 53
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 20 Hot Summer Days (Chuen sing yit luen - yit lat lat)
Score distribution:
  1. Positive: 29 out of 135
  2. Negative: 15 out of 135
135 movie reviews
    • 41 Metascore
    • 40 Eric Hynes
    The problem is that screen mayhem has a tendency to translate as hip posturing, and Little Birds' scenes of shoplifting shenanigans and pistol-whipping showdowns all too readily conform to indie-film form and style.
    • 45 Metascore
    • 40 Eric Hynes
    The problem is that the filmmaker brings D-grade craft to these B-movie exertions, making his florid maximalism more entertaining to talk about than endure - despite the best efforts of his ardently slumming A-list cast.
    • 57 Metascore
    • 40 Eric Hynes
    Vamps is commendable, even moving, as a raw-nerve confession of anachronism - but it's also what keeps this strained satire from drawing any real blood.
    • 30 Metascore
    • 40 Eric Hynes
    No amount of eccentric Americana (or slyly marginal inventiveness) can salvage this strangely lifeless - and largely laughless - gonzo comedy, which is doomed by a flimsy script, one-dimensional characterizations and distractingly inept child acting.
    • 40 Metascore
    • 40 Eric Hynes
    Despite committed and heartfelt performances - especially from the perennially charismatic Peters - director Lisa Albright's soapy semi-autobiographical tale fails to scale the low hurdle of believability.
    • 73 Metascore
    • 40 Eric Hynes
    When it comes to human emotions, however, the filmmaker is all thumbs, crassly fumbling for audience response via clichéd uses of dropped-out sound and the occasional twinkling piano.
    • 52 Metascore
    • 40 Eric Hynes
    LUV
    With its rock-skimming male bonding alternating between grisly homicides and a florid Mexican standoff that begets a tidy take-the-money-and-run finale, this tale seems less timely than merely tall.
    • 76 Metascore
    • 40 Eric Hynes
    This vision of contemporary Italy as a warped fairyland filled with corpulent slobs and seedy C-grade celebrities recalls the tough-love spectacle of Fellini’s "La Dolce Vita," but Reality frustratingly devolves into a far more tedious mass-media morality tale.
    • 44 Metascore
    • 40 Eric Hynes
    This remake of ’70s Spanish horror film "Who Can Kill a Child?" is less a contemporary upgrade than an eagerly creaky exploitative throwback.
    • 54 Metascore
    • 40 Eric Hynes
    Brando-wheezing Gandolfini never slums it, but there’s still no shaking the sense that a pro has shown up for amateur hour.
    • 72 Metascore
    • 40 Eric Hynes
    Characters seem less entrapped by their desires than by plot necessities — a fact that’s not redeemed by Ozon’s winking self-awareness.
    • 56 Metascore
    • 40 Eric Hynes
    A miniseries, which the BBC once planned, might have worked. In this form, Midnight’s Children has the paradoxical misfortune of being both too rushed and too wearingly long.
    • 34 Metascore
    • 40 Eric Hynes
    Eckhart’s status as the most likable too-handsome man this side of Chris Isaak will endure long after this film is erased from memory — which starts immediately.
    • 61 Metascore
    • 40 Eric Hynes
    Eager to please and easy on the eyes, The Kings of Summer sails right down the middle, safely tacking between sitcom setups and grandiose MGMT-scored montages without forming its own distinctive feel.
    • 56 Metascore
    • 40 Eric Hynes
    Given only hints of personalities and the thinnest strands of stories, we’re left with a hum of tinny snippets instead of anything that resembles the glorious noise of people putting on show after show after show.
    • 65 Metascore
    • 40 Eric Hynes
    There’s a heart here, but with all the superficial noise, it’s hard to hear it beating.
    • 35 Metascore
    • 40 Eric Hynes
    Even by low standards, Grudge Match is astonishingly undercooked.
    • 15 Metascore
    • 20 Eric Hynes
    A mess of arrhythmic editing, mopey first-person inserts and distractingly choppy narration, all making a heady topic that much more difficult to follow. To focus or not to focus should have been the first question.
    • 52 Metascore
    • 20 Eric Hynes
    It's less a film than one long advertisement for itself-and for the fact that mindless entertainment truly knows no borders.
    • 34 Metascore
    • 20 Eric Hynes
    It's hardly worth slogging through a full hour of unexplained bondage and a so-bombastic-it-seems-sarcastic score, only to be rewarded with a plea for tolerance that's both insincere and inept.
    • 28 Metascore
    • 20 Eric Hynes
    Inane dialogue, extraneous scenes and wooden performances make for an experience that's less edge-of-your-seat than one very long, amateur hour and a half.
    • 45 Metascore
    • 20 Eric Hynes
    Radnor tries to pin a tail of significance on this donkey, but he seems content with light comedy and mere proficiency. To which we can only reply: Nothankyounomoremilquetoast-please.
    • 60 Metascore
    • 20 Eric Hynes
    Schwimmer is so committed to telling grim truths about modern living (whither goes humanity in the age of Twitter and sexting?!?) that he abandons the film's tantalizing slide into B-movie exploitation.
    • 23 Metascore
    • 20 Eric Hynes
    Except for two brief summits between Alba and Messina's pillowy lips, however, An Invisible Sign fails even to pander effectively.
    • 13 Metascore
    • 20 Eric Hynes
    Only old pros James Brolin and Jane Seymour, as Eva's colorfully squabbling parents, occasionally rouse the film beyond its fate as fodder for a Snuggie-wrapped slumber.
    • 22 Metascore
    • 20 Eric Hynes
    Outside of a few spirited celebrity cameos - Favreau seems convincingly affronted by Dax's ineptitude, Bradley Cooper gamely tussles with him on a suburban lawn - this meta-vanity project isn't funny so much as counterproductive. It's no less a work of wankery for winking at us.
    • 37 Metascore
    • 20 Eric Hynes
    No one expects a Samuel L. Jackson thriller to be Shakespeare, but David Weaver's wanna-be '70s-grindhouse cheapie doesn't even achieve serviceability.
    • 46 Metascore
    • 20 Eric Hynes
    Neither Janney nor Keener can rise above the rote hatefulness of their madwoman caricatures, whereas Laurie and Meester fare better at playing liberated dreamers who go against the dreaded grain. But shooting fish in a barrel tends to unintentionally conjure sympathy for the fish - or, in this case, for perfectly unhappy suburbanites.
    • 28 Metascore
    • 20 Eric Hynes
    Cloyingly crude and dispiritingly typical ensemble Hollywood farce.
    • 42 Metascore
    • 20 Eric Hynes
    A movie sorely bereft of ideas, laughs and justification for the comic duo’s undifferentiating self-regard.
    • 34 Metascore
    • 20 Eric Hynes
    This drama is as listless and self-regarding as its protagonist, flitting among underdeveloped characters and subplots and indulging in rote emo shots by the pool, yet never figuring out how to dive into the deep end.
    • 30 Metascore
    • 20 Eric Hynes
    The film strives to cinematically reanimate that shabby underground lair; instead, it proves to be the most bastardized souvenir bauble of all.