For 645 reviews, this critic has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 17.1 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 12 Years a Slave
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 10 out of 645
645 movie reviews
    • 59 Metascore
    • 58 Eric Kohn
    Go For Sisters, like the filmmaker's previous features "Amigo" and "Honeydripper," sustains a feeble premise with richly defined characters and strong performances, yielding an underwhelming but nonetheless sustainable viewing experience.
    • 78 Metascore
    • 58 Eric Kohn
    Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
    • 37 Metascore
    • 58 Eric Kohn
    W.E. is less outright bad than underwhelming; if the director were unknown, it would hardly deserve notice. Like her first film, the 2008 "Filth and Wisdom," it suffers from countless storytelling flaws.
    • 25 Metascore
    • 58 Eric Kohn
    Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
    • 44 Metascore
    • 58 Eric Kohn
    The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
    • 31 Metascore
    • 58 Eric Kohn
    While its bleak assessment of American intelligence operatives imbues the story with some modicum of topicality, the specifics never keep pace. The movie becomes a bland action-drama lacking the sophistication to deal with its weightier themes. As a promising endeavor hacked to pieces, the movie's fate mirrors its anti-hero's own failed ambition.
    • 37 Metascore
    • 58 Eric Kohn
    Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
    • 60 Metascore
    • 58 Eric Kohn
    Even as it celebrates the spirit of committed journalism that rises above the powerful forces designed to contain it, Kill the Messenger displays the same anesthetized quality that Webb's dedication to his job was meant to counteract. Renner is a different story.
    • 53 Metascore
    • 58 Eric Kohn
    A loud, visually assaultive assemblage of genre tropes as technically accomplished as it is difficult to watch, "The Strange Color of Your Body's Tears" has plenty to impress while simultaneously offering so little.
    • 68 Metascore
    • 58 Eric Kohn
    By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
    • 54 Metascore
    • 58 Eric Kohn
    In between the meandering exchanges lies an unquestionably thoughtful interrogation of a broken system.
    • 50 Metascore
    • 58 Eric Kohn
    A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
    • 45 Metascore
    • 58 Eric Kohn
    The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
    • 50 Metascore
    • 58 Eric Kohn
    Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
    • 68 Metascore
    • 58 Eric Kohn
    By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
    • 54 Metascore
    • 58 Eric Kohn
    Magic in the Moonlight belongs to the pool of lesser Allen comedies, yet Firth and Emma Stone — as the alleged necromancer Sophie Baker, the object of Stanley's scrutiny and eventually his affections — bring all the zany energy they can muster.
    • 64 Metascore
    • 58 Eric Kohn
    Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
    • 55 Metascore
    • 58 Eric Kohn
    While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.
    • 54 Metascore
    • 58 Eric Kohn
    This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
    • 60 Metascore
    • 58 Eric Kohn
    Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
    • 67 Metascore
    • 58 Eric Kohn
    Rosewater is lacking in sophistication, but its attitude is infectious.
    • 65 Metascore
    • 58 Eric Kohn
    It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
    • 67 Metascore
    • 58 Eric Kohn
    Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
    • 48 Metascore
    • 58 Eric Kohn
    This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
    • 66 Metascore
    • 58 Eric Kohn
    Whereas "The Avengers" felt like a reimagining of the paradigm for superhero movies, Age of Ultron has air of a rerun. Though impressively made and visually remarkable, it suffers from the hollowness that plagues so many blockbusters carrying the sense that we've been through this before.
    • 68 Metascore
    • 58 Eric Kohn
    Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
    • 56 Metascore
    • 58 Eric Kohn
    It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.
    • 53 Metascore
    • 58 Eric Kohn
    As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
    • 68 Metascore
    • 58 Eric Kohn
    Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
    • 52 Metascore
    • 58 Eric Kohn
    Smothered by its lighthearted approach, The Monuments Men attempts to make a grand statement about the valiance of dying for the sake of art, but fails to create it.
    • 46 Metascore
    • 58 Eric Kohn
    Predominantly a failure of tone, Horns has plenty of admirable traits and yet dooms itself from the outset. It's an admirable conceit stuffed into far less subtle material.
    • 55 Metascore
    • 58 Eric Kohn
    While certainly the most dazzling Superman movie to hit the big screen, the 143-minute Man of Steel is also the longest, and it only justifies that heft because it leaves room to keep the effects coming.
    • 54 Metascore
    • 58 Eric Kohn
    Love plays out like the fragmented outline for a more engaging movie. But the one found here lacks substance both on the level of story and graphic reveals.
    • 61 Metascore
    • 58 Eric Kohn
    While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
    • 63 Metascore
    • 58 Eric Kohn
    The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
    • 22 Metascore
    • 50 Eric Kohn
    The reality is that Passion Play has a few good ideas that simply don't hold together. More of a miscalculation than an outright dud, it takes the form of a wildly surreal western fantasy, something that Chilean madman Alejandro Jodorowsky ("El Topo") could have executed with more rigorous invention.
    • 36 Metascore
    • 50 Eric Kohn
    Neither goofy enough for camp status nor lackluster enough for extreme derision, Son of No One is just mediocre enough to be an easy target.
    • 64 Metascore
    • 50 Eric Kohn
    Writer-director David Ayer’s brash, assaultive Brad Pitt drama manages some evocative imagery and achieves visceral impact by enacting a hellacious atmosphere that never lets up — but Ayer takes the mission too literally, and winds up literally lost in the fog of war.
    • 48 Metascore
    • 50 Eric Kohn
    The innumerable change-ups in The Perfect Host only pretend to take the plot in new directions. In reality, each new twist is perfectly derivative, which leads to a host of problems.
    • 44 Metascore
    • 50 Eric Kohn
    Whereas "The Apostle" was a passionate effort for Duvall that he spent years pulling together, Wild Horses feels more like a vanity project that eschews polished storytelling for half-baked conceits.
    • 50 Metascore
    • 50 Eric Kohn
    Maïwenn's evidently tight control over her performances once again shows its strength within the context of individual scenes, where the characters' attitudes often convincingly shift from blithe to furious in a matter of minutes. But the overall arc of their developing relationship fails to convince.
    • 37 Metascore
    • 50 Eric Kohn
    The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
    • 43 Metascore
    • 50 Eric Kohn
    Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
    • 69 Metascore
    • 50 Eric Kohn
    Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
    • 32 Metascore
    • 50 Eric Kohn
    Even as it makes the facile Palin-for-president case, fence-sitters will find themselves non-plussed and existing Palin haters won't budge.
    • 54 Metascore
    • 50 Eric Kohn
    Even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.
    • 56 Metascore
    • 50 Eric Kohn
    At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.
    • 57 Metascore
    • 50 Eric Kohn
    Gyllenhaal's alarmingly effective presence is enough to act circles around the soapy narrative of a fallen athlete's comeback so tightly that it crumbles in the very first act.
    • 68 Metascore
    • 50 Eric Kohn
    The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
    • 52 Metascore
    • 50 Eric Kohn
    Exodus: Gods and Kings illustrates a typical contradiction of commercial entertainment: By playing it safe, the movie fails to enrich the material, and never captures the energy that has made its narrative so captivating for millennia.
    • 54 Metascore
    • 50 Eric Kohn
    Shows none of the edgy storytelling looniness present in Stiller's finest work. Instead, every element seems calculated to service an easygoing commercial product that plays up the sentimentality of the scenario while rendering it inoffensively bland.
    • 69 Metascore
    • 50 Eric Kohn
    The movie's uneven tone and ridiculous twists never quite gel, but Knock, Knock is so eager to please that it's hard not roll with the absurd depravity on display — which has been the essence of Roth's appeal from the outset.
    • 63 Metascore
    • 50 Eric Kohn
    Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
    • 62 Metascore
    • 50 Eric Kohn
    A well-intentioned and resolutely minor period drama, "Big Eyes" isn't exactly a catastrophe, but its bland depiction of a fascinating story perhaps better served by the documentary treatment shows no evidence of the visionary creator behind the camera.
    • 59 Metascore
    • 50 Eric Kohn
    Welcome to the world of white people problems, ground zero for the strain of American comedies that Apatow does best. But does he really?
    • 49 Metascore
    • 50 Eric Kohn
    The younger Mann goes through the motions of a gritty murder mystery with plenty of technical proficiency but only a modicum of soul. The Mann touch is not only in the DNA of the director but in her movie, which inadvertently makes the case that atmosphere is more hereditary than innovation.
    • 55 Metascore
    • 50 Eric Kohn
    The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.
    • 36 Metascore
    • 50 Eric Kohn
    A lazily plotted and largely generic thriller.
    • 51 Metascore
    • 50 Eric Kohn
    Portman's screenplay shortchanges the dramatic potential of the material in favor of a by-the-numbers period piece.
    • 59 Metascore
    • 50 Eric Kohn
    Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
    • 48 Metascore
    • 50 Eric Kohn
    It's painful to watch Red Hook Summer stumble, because the man behind it has tried so hard to get his groove back. However, it's energizing in the fleeting moments when he does just that.
    • 39 Metascore
    • 50 Eric Kohn
    Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
    • 44 Metascore
    • 50 Eric Kohn
    There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
    • 43 Metascore
    • 50 Eric Kohn
    The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
    • 59 Metascore
    • 50 Eric Kohn
    Paranormal Activity 3 hardly adds anything new to the situation; instead, it pretends to fill a gap while basically just heaping on one calculated "boo!" after the other.
    • 58 Metascore
    • 50 Eric Kohn
    Intentionally or not, however, Fading Gigolo actually functions as something of a statement on Allen's persona—onscreen and off—as it has been understood in the public eye. And the resulting conclusion, like the movie, is a decidedly mixed bag.
    • 49 Metascore
    • 50 Eric Kohn
    Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.
    • 60 Metascore
    • 50 Eric Kohn
    Lone Survivor is a grotesque action movie at times impressively directed by Peter Berg that combines the brute masculinity with the ugliness of the battlefield and viscerally unsettling shock value. But it's less a depiction of courage than a brutish magnification of anger and pain, both of which it conveys a lot better than the high ground that it reaches for.
    • 49 Metascore
    • 50 Eric Kohn
    An uneven, intermittently thoughtful but largely preachy overview of WikiLeaks' rising influence that has less of an issue determining Assange's character than it does with telling a compelling story.
    • 37 Metascore
    • 50 Eric Kohn
    The Search lacks the the credible emotions of the original and never assembles a convincing reason for its existence.
    • 36 Metascore
    • 42 Eric Kohn
    The whole thing is a fairly yawn-a-rific affair until the vengeful prologue establishes a wicked role reversal, hinting at the better movie that filmmakers more interested in storytelling would have made.
    • 42 Metascore
    • 42 Eric Kohn
    Rather than making his own movie, Gosling has composed a messy love letter to countless others.
    • 58 Metascore
    • 42 Eric Kohn
    Unfortunately, Lawless lacks the same darkly energizing spirit that made "The Proposition" such a revelation: It has plenty of gunplay, scowling showdowns and dust-caked setpieces, but little in the way of dynamic filmmaking to imbue those elements with life.
    • 50 Metascore
    • 42 Eric Kohn
    Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
    • 62 Metascore
    • 42 Eric Kohn
    Dreams of a Life unintentionally amounts to a mean-spirited snooze.
    • 48 Metascore
    • 42 Eric Kohn
    Lockout consists of disciplined action pastiche, but much of its thundering engine borrows from better movies.
    • 46 Metascore
    • 42 Eric Kohn
    Directed by Sam Taylor-Johnson from Kelly Marcel's screenplay, the considerable talent behind the camera and a modicum of considerable performances yield a few undeniable guilty pleasures, but most viewers will be seeking a safe word to escape this two-hour-plus mess of half-baked excess.
    • 55 Metascore
    • 42 Eric Kohn
    Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
    • 33 Metascore
    • 42 Eric Kohn
    Flatly directed by Stephen Herek from a screenplay by S.J. Roth, the movie seems to be at peace with its mediocrity. As a vehicle for WWE champ Paul "Triple H" Levesque, it's haplessly stuck on cruise control.
    • 38 Metascore
    • 42 Eric Kohn
    Men, Women and Children is so married to the idea of humanity's insignificance that it presents support for that argument with its very existence.
    • tbd Metascore
    • 42 Eric Kohn
    Unfortunately, the unbridled shock value isn't matched by a similar investment in other ingredients that might have made this low rent B-movie worthwhile.
    • 55 Metascore
    • 42 Eric Kohn
    For all its vibrant, flamboyant aspects, “Dom Hemingway” is a resoundingly empty star vehicle. It gives Law a character too thinly crafted to justify his eccentricities. He acts his heart out for a role that has no heart.
    • 55 Metascore
    • 42 Eric Kohn
    A gleefully over-the-top celebration of silliness too in love with its outrageous characters and premise to make them gel. Scene after scene features a self-satisfied kookiness akin to spending time with a terrible comic unwilling to give up the mic.
    • 34 Metascore
    • 42 Eric Kohn
    A barrage of screwing with interludes does not yield a cohesive movie. Watching Sexual Chronicles of a French Family, the one-note idea grows increasingly evident, as does its absence of fresh ideas.

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