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 7.3 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
    • 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.
    • 82 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 60 Eric Hynes
    This impassioned documentary could have the same real-world impact as Errol Morris's "The Thin Blue Line," and help to free a wrongly convicted man. The filmmaking could be better, but it's hard to argue with that kind of potential.
    • 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.
    • 70 Metascore
    • 40 Eric Hynes
    Boy
    Boy needn't be pop-culturally fluent to be relatable; believable human characterizations would have sufficed.
    • 69 Metascore
    • 60 Eric Hynes
    Unlike satires that coast on winking self-satisfaction, Anusha Rizvi's debut is both a heartfelt and a genuinely funny skewering of India's convoluted caste-consciousness.
    • 69 Metascore
    • 60 Eric Hynes
    There's some magic in the grab-bag method, but with all the furious wand-waving, the story itself never gets to cast much of a spell.
    • 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.
    • 67 Metascore
    • 40 Eric Hynes
    Bergès-Frisbey and Duvauchelle make for a deliciously ripe pair - their cheekbones defy both gravity and sound facial architecture - but Auteuil is less interested in young lust than old world values.
    • 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.
    • 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.
    • 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.
    • 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.)
    • 65 Metascore
    • 40 Eric Hynes
    There’s a heart here, but with all the superficial noise, it’s hard to hear it beating.
    • 64 Metascore
    • 60 Eric Hynes
    Despite being as pathetically penile-obsessed as any postmillennial comedy, Goon prevails where other sports-film farces fail thanks to Scott's winning, unwinking performance; Liev Schreiber's spot-on turn as a wizened, clock-punching rink assassin; and a pucked-up love of a bloody game.
    • 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.

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