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 To Age or Not to Age
Score distribution:
  1. Positive: 29 out of 135
  2. Negative: 15 out of 135
135 movie reviews
    • 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.
    • 70 Metascore
    • 60 Eric Hynes
    Though overly dependent on a roundelay of talking heads, the film escalates into an ace legal thriller, spinning a web of shame that snags everything from the Austrian government to America's most beloved not-for-profits.
    • 53 Metascore
    • 60 Eric Hynes
    Postdivorce reconciliation tales - not to mention mother-whore disquisitions - don't get more elaborate than this.
    • 81 Metascore
    • 60 Eric Hynes
    Amid its celebrations of black power, ambitious Afros and fly female trombonists, the film serves as a rousing testament to the singular blessings of music education, since there's nothing inherent or automatic about kids learning how to groove.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Eric Hynes
    While never uproarious, Punching the Clown exudes the clever, warped sincerity of its star, eschewing uppercuts for a series of playful jabs.
    • 67 Metascore
    • 60 Eric Hynes
    The film is overcrowded with story lines and short on thrust, but fortunately, its protagonists carry the day with their candor and precocious poise.
    • 58 Metascore
    • 60 Eric Hynes
    The film develops into a sweet, surprisingly persuasive comedy about friends transitioning into family.
    • 59 Metascore
    • 60 Eric Hynes
    What’s unique to Beadie Finzi’s debut feature is what it reveals about the financial, physical and emotional costs of talent.
    • 76 Metascore
    • 60 Eric Hynes
    Undertow's three impassioned lead performances and Fuentes-León's honest engagement with thorny matters of identity, sexuality and community still make it an easy movie to get swept up by.
    • 69 Metascore
    • 60 Eric Hynes
    It's no recipe for hilarity or pitter-pattering hearts, but like our hero's sweets, this pleasant, delicate confection goes down easy enough.
    • 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.
    • 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.
    • tbd Metascore
    • 40 Eric Hynes
    It's an inspiring narrative-as are the interwoven stories of three students hoping to earn that educational gift-but the doc itself is more of a telethon-ready fund-raiser than a work of dramatic reportage.
    • 65 Metascore
    • 40 Eric Hynes
    There’s a heart here, but with all the superficial noise, it’s hard to hear it beating.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Eric Hynes
    A tepid rom-com, replete with a nostalgic Bangles tune.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 40 Eric Hynes
    Spacey is ever the pro, shilling Axle's absurd redemption and countenancing the likes of Johnny Knoxville and John Stamos as if a third Oscar were in the offing. Yet his female costars fare worse, forming an unfortunate collection of dismal, man-dependent stereotypes, from Belle's perma-pouting idealist to Heather Graham's breast-obsessed, sapphic-by-choice ballbuster.
    • 55 Metascore
    • 40 Eric Hynes
    Sorvino's Bronx bawler veers from mascara-streaked monster to outer-borough sage as each scene requires, while Savoca's agitated camera strains for handheld immediacy but ends up just looking amateurish and ugly.
    • 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.)
    • 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.
    • 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.

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