Eric Henderson

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Slant Magazine
For 262 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 6 points lower than other critics. (0-100 point scale)

Eric Henderson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Wrong Man
Lowest review score: 0 Cannibal Holocaust
Score distribution:
  1. Positive: 128 out of 262
  2. Mixed: 55 out of 262
  3. Negative: 79 out of 262
262 movie reviews
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    • 83 Metascore
    • 88 Eric Henderson
    Viet and Nam
    Truong Minh Quy’s new queer romance-cum-sociohistorical lament mines beauty from both collective desolation and individual endurance.
    • 81 Metascore
    • 63 Eric Henderson
    American Fiction
    Without spoiling its increasingly ludicrous (and ludicrously believable) escalations, American Fiction ultimately gets off scot-free clinging doggedly to the middle ground.
    • 70 Metascore
    • 75 Eric Henderson
    Rotting in the Sun
    At once an excoriating satire of the performativity of homosexuality within a social media-addled community as well as a seemingly earnest lament for the total loss of collectivity, the film minces neither words nor bodily appendages.
    • 84 Metascore
    • 75 Eric Henderson
    Are You There God? It's Me, Margaret
    The sense that they don’t make mass entertainments like this anymore is palpable.
    • 75 Metascore
    • 63 Eric Henderson
    Funny Face
    The clothing may be couture, but Funny Face’s plot is strictly wash, rinse, repeat.
    • 85 Metascore
    • 75 Eric Henderson
    The Wages of Fear (1953)
    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
    You Don't Nomi
    Has the time come to ask if the pendulum has swung too far in the other direction?
    • 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
    That Summer
    The makers of this rescued-footage documentary ultimately understand the power of its subjects' personalities.
    • 64 Metascore
    • 63 Eric Henderson
    Ready Player One
    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.
    • 74 Metascore
    • 63 Eric Henderson
    Thor: Ragnarok
    Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
    • 77 Metascore
    • 63 Eric Henderson
    Detroit
    Kathryn Bigelow hyper-realistically, almost dispassionately, covers her ensemble’s actions in the manner of a somber disaster film.
    • 71 Metascore
    • 63 Eric Henderson
    Girls Trip
    Malcolm D. Lee's film at least it goes down easy. Easy like a Sunday-morning hangover.
    • 74 Metascore
    • 63 Eric Henderson
    Sully
    It presses the case that the complexity of the human condition distracts us from the pure dignity of a noble act.
    • 51 Metascore
    • 63 Eric Henderson
    Mike and Dave Need Wedding Dates
    Much like with Neighbors 2, Mike and Dave’s obvious ace in the hole is its commitment to gender parity.
    • 67 Metascore
    • 63 Eric Henderson
    Barbershop: The Next Cut
    A pop sonata of stand-up comedy routines layered with, if not vitality, then at least honest energy.
    • 64 Metascore
    • 63 Eric Henderson
    Everest
    It feels less like an cautionary adventure movie or the classy Hollywood equivalent of a Reader's Digest "Drama in Real Life" and much more like a disaster epic.
    • 55 Metascore
    • 63 Eric Henderson
    The Visit
    When the trademark Shyamalan twist finally arrives, it doesn't synthesize anything other than the director's devotion to his signature gimmick.
    • 90 Metascore
    • 88 Eric Henderson
    Mad Max: Fury Road
    George Miller orchestrates the rubber-burning pandemonium with the illicit smirk of someone who knows he's giving us exactly what we want.
    • 62 Metascore
    • 63 Eric Henderson
    The SpongeBob Movie: Sponge Out of Water
    Its dedication to the transgressive power of frivolity remains the franchise's greatest weapon.
    • 67 Metascore
    • 75 Eric Henderson
    Björk: Biophilia Live
    You can't help but be impressed by how much it represents a natural, even defensive evolutionary step on its creator's part.
    • 71 Metascore
    • 63 Eric Henderson
    Edge of Tomorrow
    Tom Cruise's participation transmutes, as it always does, everything around him, turning the movie's series of false starts, dead ends, and hard lessons into a working metaphor for his own career.
    • 62 Metascore
    • 88 Eric Henderson
    Godzilla
    In form, it's no wham-bam VFX sizzle reel replete with sputtering, ejaculatory climaxes. It's the magnificently sustained equivalent of Ravel's "Bolero," with nuclear warheads in place of timpani rolls.
    • 61 Metascore
    • 75 Eric Henderson
    Muppets Most Wanted
    Freed from the burden of starting anew, the film restores the Muppets' rightful place as stars of their own show.
    • 47 Metascore
    • 63 Eric Henderson
    Interior. Leather Bar.
    With Travis Mathews's help, James Franco's persona forms a kind of symmetry: 1980's dubious homophobia against 2013's risible homophilia.
    • 88 Metascore
    • 88 Eric Henderson
    Strangers on a Train
    Strangers on a Train, though undoubtedly effective as a classic Hitchcock thriller, is also nothing more complicated than one elongated gay cruise joke-cum-horror story.
    • 93 Metascore
    • 100 Eric Henderson
    Do the Right Thing
    Lee deftly follows the actions of two dozen people on what turns out to be one of the longest, hottest, most memorable and maybe most tragic days of their lives. And he does it without so much as a single lugubrious or extraneous moment.
    • 60 Metascore
    • 100 Eric Henderson
    Day of the Dead
    Here, a pessimistic Romero dares to tackle the very essence of man’s inhumanity to man. And in the end, Day of the Dead is every bit as compelling and unsettling as its more lauded predecessors.
    • 55 Metascore
    • 100 Eric Henderson
    Mommie Dearest
    Inscrutably powerful and brutally honest about diva worship as another form of male domination, Mommie Dearest is to camp what Medea was to Dr. Benjamin Spock.
    • 96 Metascore
    • 100 Eric Henderson
    Rosemary's Baby
    Rosemary’s Baby is one of horror cinema’s all-time slow burns, drawing viewers gradually into entertaining the possibility that the movie’s series of strange coincidences and accumulating sense of dread are only subjective representations of Rosemary’s unraveling mental state.
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