Eric Henderson

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For 224 reviews, this critic has graded:
  • 37% higher than the average critic
  • 1% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 7.8 points lower than other critics. (0-100 point scale)

Eric Henderson's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Do the Right Thing
Lowest review score: 0 Cannibal Holocaust
Score distribution:
  1. Negative: 78 out of 224
224 movie reviews
    • 70 Metascore
    • 50 Eric Henderson
    This new Boys in the Band is a Matryoshka doll of period piecery, a flashback of a flashback of a flashback.
    • 85 Metascore
    • 75 Eric Henderson
    Henri-Georges Clouzot’s The Wages of Fear now seems much less like Salt of the Earth-as-a-potboiler and a lot more like the spiritual godfather to every testosterone-fueled thrill ride since.
    • 66 Metascore
    • 63 Eric Henderson
    Has the time come to ask if the pendulum has swung too far in the other direction?
    • 51 Metascore
    • 38 Eric Henderson
    Dwayne "The Rock" Johnson is the true Tower of Babel, the movie star who with each film gets closer to God and whose films always come tumbling down around him.
    • 56 Metascore
    • 63 Eric Henderson
    Tag
    As dumb as Tag is on the surface, it offers amity, emotional support, awkward tears, the specter of death, and the spectacle of ass-punching slapstick all rolled up in one somehow cohesive collection of all-good spare parts.
    • 62 Metascore
    • 63 Eric Henderson
    The makers of this rescued-footage documentary ultimately understand the power of its subjects' personalities.
    • 46 Metascore
    • 50 Eric Henderson
    Novelty and Melissa McCarthy’s comedic chops only carry Life of the Party to midterms, and it soon becomes apparent that it’s a star vehicle without any engine.
    • 45 Metascore
    • 38 Eric Henderson
    Unlike 2014’s Godzilla, which benefited from director Gareth Edwards’s patience with the Jaws-style slow burn, RAMPAGE is all noise without crescendo.
    • 64 Metascore
    • 63 Eric Henderson
    It's a boldly attempted strike against the monolithic corporatization of fan service, and arguably one of the few films that defines dystopia as nothing less than a marketplace of trademarked, cross-promotional intellectual property. In other words, our here and now.
    • 22 Metascore
    • 38 Eric Henderson
    Father Figures, which finished shooting more than two years ago before spending endless months without a release date, is both meandering and bloated, suggesting the Frankensteinian result of brutal test screenings.
    • 58 Metascore
    • 50 Eric Henderson
    Any potential subtext of Munro Leaf's children's book has been bleached out in the marketplace-oriented Ferdinand.
    • 60 Metascore
    • 25 Eric Henderson
    Since “humbug” is already spoken for by Ebenezer Scrooge, “opportunistic” would be the most apt word for The Man Who Invented Christmas.
    • 74 Metascore
    • 63 Eric Henderson
    Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
    • 66 Metascore
    • 50 Eric Henderson
    Marshall arguably intends for societal 20/20 hindsight to provide the bulk of perspective throughout.
    • 63 Metascore
    • 50 Eric Henderson
    Far from seeming like a strategic element created to define Lady Gaga's reinvention, the documentary instead feels like a natural outgrowth of it.
    • 69 Metascore
    • 50 Eric Henderson
    It
    It cashes in on trendy retroism instead of utilizing the perspective of, to borrow from Joni Mitchell, seeing clowns from both sides now.
    • 64 Metascore
    • 38 Eric Henderson
    It's no surprise that Nick Broomfield finds little use for the moments of unabashed triumphalism in Houston's life, as he's doggedly fixated on the humiliating swan dive.
    • 36 Metascore
    • 38 Eric Henderson
    Right from the very beginning of Rob’s cruel cycle that sees him repeatedly returning to the floor of that elevator every time the church bells at his wedding begin to ring, Naked besmirches the reasons that Groundhog Day's Möbius-strip construction worked.
    • 77 Metascore
    • 63 Eric Henderson
    Kathryn Bigelow hyper-realistically, almost dispassionately, covers her ensemble’s actions in the manner of a somber disaster film.
    • 71 Metascore
    • 63 Eric Henderson
    Malcolm D. Lee's film at least it goes down easy. Easy like a Sunday-morning hangover.
    • 32 Metascore
    • 38 Eric Henderson
    The only wish that ends up satisfyingly granted is, in Wish Upon's final and utterly predictable tableau, the audience's.
    • 52 Metascore
    • 38 Eric Henderson
    The film's plot crux isn't romantic fatalism, but 2017's cutest manifestation of trendy gaslighting.
    • 45 Metascore
    • 25 Eric Henderson
    The truly depressing thing about a thriller as undercoocked as Unforgettable is its failure to fly on dark fantasy.
    • 50 Metascore
    • 38 Eric Henderson
    No one in Going in Style seems to really know what the hell they’re doing or why. And even though that goes double for the filmmakers, at least no one succumbs to taking any of it seriously.
    • 54 Metascore
    • 25 Eric Henderson
    Life, an incredibly square and familiar studio product, baits and switches on two disappointing propositions, moving swiftly from something expectedly cliché to something dismayingly derivative.
    • 50 Metascore
    • 38 Eric Henderson
    Every Republican regime gets the ludicrous devious-baby saga it deserves.
    • 41 Metascore
    • 38 Eric Henderson
    Monogamy, Passengers seems to suggest, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
    • 23 Metascore
    • 12 Eric Henderson
    David Frankel's film argues that the power of miracles can be manufactured by those who can fund them.
    • 66 Metascore
    • 38 Eric Henderson
    The film exists resolutely outside of salience and doggedly within the comfort of escapism.
    • 56 Metascore
    • 50 Eric Henderson
    Maybe it's not the worst thing in the world that Storks doesn't take many cues from Pixar's tear-jerking playbook.

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