For 16 reviews, this critic has graded:
  • 25% higher than the average critic
  • 0% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 6.3 points lower than other critics. (0-100 point scale)

Tony Hinds' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 83 The Force
Lowest review score: 16 Kickboxer: Vengeance
Score distribution:
  1. Positive: 7 out of 16
  2. Negative: 2 out of 16
16 movie reviews
    • 71 Metascore
    • 50 Tony Hinds
    While these individual images are indeed powerful, the surrounding film lacks thematic depth and narrative substance, rendering it inert and rather forgettable.
    • 58 Metascore
    • 67 Tony Hinds
    Outrage Coda is not a great film, nor an essential one, but it accomplishes what it sets out to with gallows humor and a deeply cine-literate style.
    • 61 Metascore
    • 58 Tony Hinds
    This is Our Land’s biggest flaw lies in the bluntness of its message and approach.
    • 78 Metascore
    • 42 Tony Hinds
    While intermittently fascinating in its attention to detail and its provocative thesis, Suchsland’s verbose essay film never successfully surpasses the realm of mere academic curiosity.
    • 74 Metascore
    • 67 Tony Hinds
    Too often, we’re left with an arguably less-than-great artist (Eli Roth? Mick Garris?) in talking head form, blandly praising Hitchcock’s work. 78/52 is at its best when the shower is running and we’re engaged with the making of this notorious murder scene.
    • 53 Metascore
    • 42 Tony Hinds
    While Hong Kong Trilogy is ultimately an empty and unfocused misfire, it’s still rather watchable in its failure, thanks to Doyle’s remarkable visual approach.
    • 80 Metascore
    • 83 Tony Hinds
    The Force examines one of the most talked about issues in America from an ideal vantage point, revealing disheartening complexities with an intriguing momentum.
    • 59 Metascore
    • 58 Tony Hinds
    Killing Ground’s twists might be effective, but stylistically speaking, it’s sub-Eli Roth.
    • 80 Metascore
    • 58 Tony Hinds
    Dunning is a documentarian’s wet dream, as honest and forthcoming as he is eagerly collaborative, which makes for a wildly entertaining, if occasionally self-indulgent experience.
    • 66 Metascore
    • 83 Tony Hinds
    By Sidney Lumet provides audiences unfamiliar with his work a window into the heart and mind of one of the most important filmmakers of all-time.
    • 90 Metascore
    • 75 Tony Hinds
    I Called Him Morgan hooks you from the first moments and glides effortlessly toward an emotionally impacting and enigmatic conclusion.
    • 37 Metascore
    • 16 Tony Hinds
    Perhaps only of merit to the hardest of hardcore Van Damme completists, Kickboxer: Vengeance is a rehashed, lackadaisical outing in need of goofy silliness and campy flair.
    • 45 Metascore
    • 42 Tony Hinds
    A pensively maudlin Hallmark commercial, if such a thing exists, Five Nights In Maine aspires to the levels of high-minded, heart-wrenching tearjerkery, and falls short.
    • 77 Metascore
    • 83 Tony Hinds
    Kopple’s camera catches fascinating snapshots of Sharon Jones at her most charismatic and alive, a true artist who cannot help but see the world differently.
    • 32 Metascore
    • 33 Tony Hinds
    The film rarely builds any level of suspense, mood, or atmosphere, and when it briefly does, the screenplay hasn’t a clue what to do with it.
    • 65 Metascore
    • 67 Tony Hinds
    Nelson’s screenwriting voice is unpretentious, approaching earnestly grounded characters with a deliberate lack of sentimentality.

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