I don't know if I'd do anything else to the eyes.  I think it looks fine as is.  Maybe the sun was extremely bright that day and the brim of his hat wasn't helping much.  Maybe he's getting ready to blow a hole in some unseen lawbreaker and is steeling himself for what has to be done.

I wouldn't change a thing!

Vic  :)

Okay, my 2 cents.

It's kind of hard to tell your highlights and shadows due to the lighting.

You need to add highlights along the ridge of the nose, the chin, the upper edge of the lip and on the two folds of skin under the nose. Carry the nose ridge highlight to the upper edges of the nostril flare. Add highlight to the central part of the ear. Also increase the cheek highlight and bring it down along the outer edge of the frown line. Also along the top of the eyelid. Add a highlight on the adam's apple and the ridge of the neck muscle, prominent on his left side.

The color of your shadows looks off, too bluish in the pics. Use your base skin tone as a base from which to mix your shadows. If your using oils, burnt sienna is a good shadow for flesh. Add some shadows to the hollow of the cheeks, in the frown line, in the cleft of the chin, above the eyelid, in the space between the raised flesh under the nose, under the neck, along the hairline, in the hollows of the ears and behind the ears. Add shadows below the adam's apple and outlining the neck muscle.

Use a pinker color for the lips. Citadel has a "tanned flesh" color that works nicely.

It's hard to tell how well sculpted the eyes are, but you really should be adding whites and irises to 120mm figures.

It also looks like you used a wash to get the shadows. You should try to be more focussed on the shadows to pick out just where you want them.

Here are a couple 120 figures painted by Marion Ball. Note that even though the eyes are somewhat squinty, there is a hint of white.

I think that some attention to some more highlights will help bring this one around. For a good idea of where shadows should be, put the face directly under a lamp, then snap a B&W picture of it ... and POOF. You instantly know where the heavy shadows are. I do this as soon as I take the fig out of the package. Also to ditto above, use a 000 brush to apply your shadows. I'm using the same book right now to build a 120mm OIF fig and it walks you right through it.

Are you using acrylics or oils?

Since it's a "High Noon" figure, the light should be overhead, I'd suggest you put the hat on the figure and take a picture like that as well, so when you're painting you can compensate as well, or decide where the hat's shadow falls for best effect.  (In a movie, the director would have the natural light overhead, but have a few reflectors to get light on the actor's face, you decide what lighting effect you want to paint.)

As for the painting, you are off to a good start, but I agree that unless the subject has is eyes closed (as if he's thinking, "ouch, this is gonna hurt!") you need to have a little bit of white showing. 

I use Citadel Flesh Colors exclusively, very smooth and easily to layer, if you can find it, their Flesh Wash is very good for quickly shading depth before highlighting.  Vallejo and Reaper also make great acrylic paints.