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 6.9 points lower than other critics. (0-100 point scale)

Eric Hynes' Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 20 Love, Wedding, Marriage
Score distribution:
  1. Positive: 29 out of 135
  2. Negative: 15 out of 135
135 movie reviews
    • 56 Metascore
    • 60 Eric Hynes
    It’s a kind of self-portrait made out of quotidian meals, naps and scattershot car-seat conversations, and though the loss that underlies Mark’s emotional state feels like a scripted conceit, The End of Love excels at conveying the moment-to-moment frustrations and exhilarations of being a dad.
    • 66 Metascore
    • 60 Eric Hynes
    Loach coaxes an endearingly poised performance out of nonprofessional Brannigan, and largely sells these scuffling characters as neither hopeless nor heroic—just terribly human.
    • 48 Metascore
    • 60 Eric Hynes
    Cassavetes adopts a grammar that occasionally slides into parody but mostly comes across as committed style. Kiss of the Damned contributes little new to the genre save a taste for alluringly tactile sex scenes and an avoidance of gore.
    • 67 Metascore
    • 60 Eric Hynes
    Though its blanketed voiceover narration can be too on-the-nose—it’s a metaphor, we get it—the film packs a psychic punch, thanks to Gedeck’s spectrally wearied face.
    • 57 Metascore
    • 60 Eric Hynes
    How the geriatric ensemble dramedy became the last bastion of British cinema is a bit of a riddle, but like Cadbury Creme Eggs and Manchester soul, it doesn’t seem to be going away anytime soon.
    • 53 Metascore
    • 60 Eric Hynes
    While veteran director Fernando Trueba (Belle Epoque) and writer Jean-Claude Carrière don’t bring much novelty to the May-December/muse-artist/naked-clothed cliché, they do imbue the material with genuine feeling—exploring the melancholy of waning days and a defiantly naive belief in artistic transcendence.
    • 60 Metascore
    • 60 Eric Hynes
    An adaptation of a short story from David Sedaris’s best-selling Naked collection, C.O.G. (short for “Child of God”) struggles from the outset to retain the snap of the NPR favorite’s hyperbolic humor while also grounding it in authenticity—a tonal disconnect that nonetheless serves to destabilize a potentially predictable coming-of-age tale.
    • 48 Metascore
    • 60 Eric Hynes
    Rote ageist jokes abound (“Do you guys have drugs?” asks a bachelorette; “Does Lipitor count?” responds Kline), but they come with an inclusive, self-deprecating spirit that grows more endearing over the duration.
    • 83 Metascore
    • 60 Eric Hynes
    Jiro’s genius is godlike, but his personality is nonexistent; time is too-briskly spanned, then ground into blow-by-blow melodrama.
    • 64 Metascore
    • 60 Eric Hynes
    Though it’s culled from 600 hours of footage, Medora feels thin in terms of memorable imagery, and bounces a little too hastily between scenes. But it’s utterly impossible not to pull for these boys, or for a film that sees them as complex individuals rather than sociological evidence.
    • 76 Metascore
    • 60 Eric Hynes
    The film ultimately plays less like an experiment than a demonstration of a tinkerer’s ingenuity. Tim’s finished Vermeer may resemble the real thing, but Tim’s Vermeer never tackles the true mystery of why the latter is actually incomparable.
    • tbd Metascore
    • 40 Eric Hynes
    Convention plays like 11 cameras in search of drama.
    • 56 Metascore
    • 40 Eric Hynes
    A tepid rom-com, replete with a nostalgic Bangles tune.
    • 57 Metascore
    • 40 Eric Hynes
    There's inherent drama in watching a person amble up a mountain, but it's an act of bad faith to oversell a stunt.
    • 43 Metascore
    • 40 Eric Hynes
    Impassioned, but wearisomely didactic, diaspora drama.
    • 55 Metascore
    • 40 Eric Hynes
    The performance sequences feel intimate and exhilarating-but in the end, Li's journey is compelling only when he's onstage.
    • 53 Metascore
    • 40 Eric Hynes
    The girls are worth rooting for, but their pursuit is secondary to one sorry-ass dude's redemption. That's a win?
    • 54 Metascore
    • 40 Eric Hynes
    The Freebie grimly reaffirms the status quo, concluding it's better to have no sex at all than to forsake the Ikea-furnished domestic dream.
    • 49 Metascore
    • 40 Eric Hynes
    It's a functional sequel, but with all that spirited slicing and dicing, the director could have at least broken a sweat.
    • 41 Metascore
    • 40 Eric Hynes
    It's entertainment designed to resemble a good time without aspiring to provide one.
    • 42 Metascore
    • 40 Eric Hynes
    Jaglom can craft a scene and stage organic conversations, but if his saps and suckers never wander beyond a hermetic view of the real world, then so what?
    • 35 Metascore
    • 40 Eric Hynes
    The movie's twitchy, diabolical monster is neither persuasive nor historically tenable, and unlike Arendt's Eichmann, he's far too easy to dismiss.
    • 51 Metascore
    • 40 Eric Hynes
    Lilien certainly captures Pale Male's wild animal beauty in loving close-up. What his film needs, however, is distance.
    • 50 Metascore
    • 40 Eric Hynes
    Despite a few moments of surprising insight, Twelve Thirty comes off as more mechanistic than organic; it's composed rather than truly lived.
    • 50 Metascore
    • 40 Eric Hynes
    It's another episodic, shaggy-dog parade of L.A. denizens caught in moderately compromised positions.
    • 47 Metascore
    • 40 Eric Hynes
    While Shapiro does a fine job of emulating kink classics like "Blow Out," his film lacks one element that De Palma wouldn't have been caught dead without: a sense of humor.
    • 66 Metascore
    • 40 Eric Hynes
    Rather than an argument or exposé, the movie is a condescendingly narrated demonstration of how money makes the movie world go round. (Stop the presses.)
    • 55 Metascore
    • 40 Eric Hynes
    Offers an intriguing outsider's document of Russian culture reinventing itself from the outside in; its main export, however, seems to be good old-fashioned Ugly Americanism.
    • 47 Metascore
    • 40 Eric Hynes
    The culture wars may be simmering throughout writer-director Ben Hickernell's script-the Save the Whales and pro-choice bumper stickers on Will's VW invite a brutal barfly beatdown-but the real casualties are momentum and narrative cohesion.
    • 56 Metascore
    • 40 Eric Hynes
    A lot of history gets horned into this undeniably inspirational parable, though slick execution and simplistic storytelling make it a lesson suitable only for easily impressed elementary-school students.

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