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 The Internship
Score distribution:
  1. Positive: 29 out of 135
  2. Negative: 15 out of 135
135 movie reviews
    • 91 Metascore
    • 100 Eric Hynes
    There's influential, and then there's this 1953 microbudgeted beauty, one that's made its way into the DNA of everything from cinema vérité to the French New Wave.
    • 86 Metascore
    • 80 Eric Hynes
    Despite being the subject of nearly every shot in the film, Hoss maintains an air of mystery, simultaneously projecting severity, sensitivity and sensuousness throughout.
    • 83 Metascore
    • 60 Eric Hynes
    Fellag does for the film what his Lazhar does for the pupils: He's soothing and entrancingly enigmatic enough to keep us fixed to our seats.
    • 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.
    • 83 Metascore
    • 80 Eric Hynes
    Mike Eley’s gorgeously saturated cinematography helps elevate the boys’ struggle into the realm of the heroic, but it’s the two young stars — one a whirlwind and the other a quiet protector — who make this only-slightly tall tale into something towering.
    • 82 Metascore
    • 60 Eric Hynes
    Time and changing tides have been kind to Graceland (and to the local musicians who've since become internationally renowned), but an on-camera meeting between the songwriter and ANC leader Oliver Tambo finds their conflict between creative freedom and revolutionary solidarity fascinatingly unresolved.
    • 82 Metascore
    • 60 Eric Hynes
    A train station finale is textbook tearjerker territory, but it still teems with exquisite sorrow.
    • 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.
    • 80 Metascore
    • 80 Eric Hynes
    Majewski's film is a dazzling master class in visual composition.
    • 78 Metascore
    • 60 Eric Hynes
    Poised between childhood and adolescence, arrogance and insecurity, the kids still make for compelling subjects.
    • 77 Metascore
    • 60 Eric Hynes
    The film clandestinely captures marauders in action while embedding itself in the imperiled home of aging farmer Michael Campbell. He's not the movie's ad hoc martyr, but something more compelling: a simple man whose fight for personal justice has matured into patriotism.
    • 77 Metascore
    • 80 Eric Hynes
    Working from a script by playwright Darci Picoult, Dosunmu fashions a tale that’s realistic, melodramatic and culturally specific (we spend as much time ogling colorfully patterned dresses as we do admiring Gurira’s endlessly expressive face), yet unmistakably archetypal.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 60 Eric Hynes
    Essential, if artless, baseball exposé.
    • 75 Metascore
    • 60 Eric Hynes
    Point Blank fires nothing but blanks in the end, dealing in increasingly ludicrous plot twists and one fizzle of a finale.
    • 74 Metascore
    • 80 Eric Hynes
    Brazilian filmmaker Júlia Murat's first narrative feature is a mesmerizing, slow-build marvel.
    • 74 Metascore
    • 80 Eric Hynes
    Plays like a gothic prequel to David Cronenberg's "A Dangerous Method," one in which human flesh is viewed as both horrific and erotic terrain.
    • 74 Metascore
    • 80 Eric Hynes
    The only time a subject directly addresses Takesue, it's with a doozy of a query: "Why are you taking my story to USA, New York?" The answer is as complex as the film itself, and as simple as deciding to not look away.
    • 74 Metascore
    • 80 Eric Hynes
    Miller’s ace in the hole is the hulking, regal Harper, whose round face vacillates between childlike mirth and lung-stomping sadness. His casual charisma not only commands our attention and affection, it sidelines every social or thematic concern to this singular, tentatively aspiring life.
    • 73 Metascore
    • 80 Eric Hynes
    With tinkling thriller music and dramatic voiceover narration, this modest but engrossing first-person documentary comes on like a true crime caper.
    • 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.
    • 73 Metascore
    • 80 Eric Hynes
    Attenberg shares with the Oscar-nominated "Dogtooth" a weakness for overgrown innocence and deadpan perversity.
    • 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.
    • tbd Metascore
    • 80 Eric Hynes
    The Law is everything that this season’s lackluster blockbusters are not: a damn good time.
    • 72 Metascore
    • 80 Eric Hynes
    It's a sickening but stunning portrait of combat that looks past notions of bravery or brutality, guilt or innocence, to bear witness to a thoroughly besieged humanity.
    • 72 Metascore
    • 60 Eric Hynes
    Director Madeleine Sackler favors an agenda of advocacy over complexity, making The Lottery an effective, if unapologetically one-sided, piece of agitprop.
    • 72 Metascore
    • 60 Eric Hynes
    The backbeat anarchy is fun while it lasts, but without a persuasive purpose, it's all just noise in the end.
    • 71 Metascore
    • 80 Eric Hynes
    What Lost Bohemia lacks in aesthetic presentation - first-time filmmaker Astor seems to have gathered footage without much forethought - is made up for by an intimacy familiar from home movies, revealing eccentric neighbors at their most frank and endearing.