For 150 reviews, this critic has graded:
  • 53% higher than the average critic
  • 0% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.5 points lower than other critics. (0-100 point scale)

Hal Hinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Life Is Sweet
Lowest review score: 0 Bio-Dome
Score distribution:
  1. Positive: 74 out of 150
  2. Negative: 25 out of 150
150 movie reviews
    • 43 Metascore
    • 40 Hal Hinson
    David Cronenberg's film version of David Henry Hwang's Tony Award-winning play, is no more successful in solving it than any other versions of this fantastic tale have been.... "The Crying Game" it's not. [09 Oct 1993]
    • Washington Post
    • 50 Metascore
    • 40 Hal Hinson
    The movie is showy without having any noticeably coherent style. Indeed, it might have been possible to enjoy Young Guns as a larky spree if the photogenic stars didn't carry themselves with such a smug, self-congratulatory air. But they behave as if our adoration were their birthright.
    • 80 Metascore
    • 40 Hal Hinson
    It's precisely Henry's coldblooded affectlessness that is meant to shock and disturb us. But "Henry" leaves us feeling more numbed than moved. Half art film, half schlock-horror cheapie, "Henry" isn't quite sure what it wants to be.
    • 59 Metascore
    • 40 Hal Hinson
    Is it scintillating, nutty, madly inspired or ecstatically preposterous? Ginsberg himself is all these things, but this movie is not. (Review of Original Release)
    • 56 Metascore
    • 40 Hal Hinson
    Madsen may not be the most egregiously untalented of the new movie beauties, but she's close to it. As Dolly, she presents a Southern accent as ludicrous as any in captivity; she keeps trying for Blanche DuBois and coming out with Gomer Pyle.
    • 51 Metascore
    • 37 Hal Hinson
    This summer Bullock is in the driver's seat of The Net, a sort of chase movie on the information highway from veteran producer-turned-director Irwin Winkler, and not only is the film a comedown, it's a far less flattering showcase for her talents as well.
    • 46 Metascore
    • 30 Hal Hinson
    Tirelessly modish, hyper-glossy, super-superficial. It's also cacophonous. And, for all of its drum-beating for brain power, dumb.
    • 59 Metascore
    • 30 Hal Hinson
    Humorless, charmless and flat.
    • 58 Metascore
    • 30 Hal Hinson
    A leviathan bore, big, clunky and ponderously overplotted.
    • 41 Metascore
    • 30 Hal Hinson
    Still, well-intentioned sappiness is something we can deal with; the lack of any genuine dramatic conflict is a more damaging shortcoming.
    • 62 Metascore
    • 30 Hal Hinson
    Here, Lyne indulges more in misdirection than in direction; he's a magician turning a sleazy trick. But even his technical skill breaks down. The picture is garbled and cliched.
    • 45 Metascore
    • 30 Hal Hinson
    So what exactly is the point? Does Jefferson's treatment of Sally Hemings establish his racism or his instinctive color-blindness? Unfortunately, the picture is so unfocused and tumbles so rapidly from one event to another that it's difficult to tell.
    • 58 Metascore
    • 30 Hal Hinson
    If, at odd moments, The Rock is better than tolerable, it is usually because of its stars.
    • 36 Metascore
    • 20 Hal Hinson
    As you might expect, the calculations here are on a much less sophisticated level. And by less sophisticated, I mean like counting on fingers.
    • 54 Metascore
    • 20 Hal Hinson
    In his screen version, Schumacher does a flamboyant job of staging the book without showing the slightest interest in what it's about. Granted, Grisham's original is no masterpiece; it's beach reading, but it deserves credit for addressing its subject with some conviction and integrity.
    • 27 Metascore
    • 20 Hal Hinson
    Murphy has said that he wanted the picture to work both as a comedy and a horror movie, but he has succeeded at neither. Director Craven manages to wedge in some of his signature bits, but can't keep the comic elements in balance with the horror, and as a result there's no tension or dramatic pull.
    • 36 Metascore
    • 20 Hal Hinson
    Lethal Weapon 3 is pretty much the same as "Lethal Weapon 2," which was pretty much the same as "Lethal Weapon."
    • 46 Metascore
    • 20 Hal Hinson
    Spaceballs is actually a kind of comic black hole. All in all, the movie is about as funny as having coffee spilled in your lap. Except that there's no burn -- just that slightly embarrassing, uncomfortable, all-wet feeling.
    • 52 Metascore
    • 20 Hal Hinson
    What "Wild at Heart" feels like is a kind of housecleaning -- a disjointed collection of images and odd snatches of ideas that the director couldn't make room for anyplace else. They have no context, and as a result, no power to thrill or disturb.
    • 38 Metascore
    • 20 Hal Hinson
    Irony is the movie's escape hatch. It allows the filmmakers to stage maudlin bits and, at the same time, signal the audience that they're too cool to actually believe in them. Their cool is all-purpose, and it carries with it a note of genuine nastiness. They manipulate us into a sentimental response, then kick us in the teeth for buying it.
    • 61 Metascore
    • 10 Hal Hinson
    Red Heat is poorly, or even indifferently, made. It's a joyless exercise, and too much angry resignation seeps in for it to be very funny or very entertaining.
    • 52 Metascore
    • 10 Hal Hinson
    A plodding, aggressive film that is neither engaging, disturbing nor funny.
    • 49 Metascore
    • 10 Hal Hinson
    Father of the Bride, Part II is a virtual avalanche of cheap emotion. Short on comedy but long on maudlin sentiment, this sequel stumps so hard for the traditional values of home, hearth and family that any possible entertainment value is canceled out.
    • 49 Metascore
    • 10 Hal Hinson
    Far and Away is such a doddering, bloated bit of corn, and its characters and situations so obviously hackneyed, that we can't give in to the story and allow ourselves to be swept away.
    • 16 Metascore
    • 10 Hal Hinson
    Eddie Murphy's directorial work is amateurish at best. And as a performer he looks as if he is in agony, as if his mother made him stand in front of the camera for punishment.
    • 60 Metascore
    • 10 Hal Hinson
    The Godfather Part III isn't just a disappointment, it's a failure of heartbreaking proportions... It makes you wish it had never been made.
    • 13 Metascore
    • 10 Hal Hinson
    The movie is fast, slick and dumb as a post.
    • 14 Metascore
    • 10 Hal Hinson
    Usually, Ephron is one of the most reliable comic voices in the movies, but here her gifts seem to have deserted her. Though she shows her customary talent for smart one-liners, the spirit of the film is forced and desperate, as if she lacked faith in her gags and were trying to shove them down our throats.
    • 56 Metascore
    • 10 Hal Hinson
    What The Two Jakes makes us long for most is the earlier film.
    • 1 Metascore
    • 0 Hal Hinson
    A nonstop moronathon... Bio-Dome offers a pants-load of poop and masturbation jokes, deviant innuendo and simian sight gags destined to gross out and offend just about everyone.

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