For 566 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 17.3 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Zero Dark Thirty
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 566
566 movie reviews
    • 52 Metascore
    • 75 Eric Kohn
    Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
    • 70 Metascore
    • 75 Eric Kohn
    In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
    • 49 Metascore
    • 75 Eric Kohn
    Like Stephen Walker's delicate nonfiction portrait "Young@Heart," it's a genuine heart-tugger about senior citizens rediscovering their youth by singing pop music; like Craig Brewer's crowdpleasing "Hustle & Flow," it sympathizes with a struggling rap artist without glossing over his flaws.
    • 61 Metascore
    • 75 Eric Kohn
    Brody's engagement with the material prevents Wrecked from falling apart.
    • 60 Metascore
    • 75 Eric Kohn
    With tightly controlled performances and uniquely eccentric events, The Beaver is mainly undone by the lack of a satisfying outcome.
    • 69 Metascore
    • 75 Eric Kohn
    Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
    • 62 Metascore
    • 75 Eric Kohn
    Despite routinely overstating the scenario with rampant scenes of tantrums and sobs, the majority of Beautiful Boy is made bearable by its two solid performances.
    • 70 Metascore
    • 75 Eric Kohn
    Subtitled "a musical adventure," the actor-director's love letter to some 800 years of Neapolitan expression probes its subject with a wide romantic outlook.
    • 63 Metascore
    • 75 Eric Kohn
    A slow burn thriller taken to the extreme, Cristi Puiu's Aurora continues the Romanian writer-director's obsession with time as his main narrative device.
    • 66 Metascore
    • 75 Eric Kohn
    The result is an uneven drama with genuine intellectual heft that often outshines its flaws.
    • 72 Metascore
    • 75 Eric Kohn
    Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
    • 78 Metascore
    • 75 Eric Kohn
    Only Boyle's unstoppable tendency to mouth off sustains the routine plot, but McDonagh pushes the limits of what he can make Gleeson say without making the crude nature of his asides overwhelm their comic potential.
    • 58 Metascore
    • 75 Eric Kohn
    It's a pretty experiment with no apparent results, but plenty of marketability.
    • 82 Metascore
    • 75 Eric Kohn
    A four-and-a-half hour period piece littered with interconnected events spread across many years, it moves forward with fits of intrigue, interspersed with casual developments that deaden its momentum and call into question its monumental running time.
    • 74 Metascore
    • 75 Eric Kohn
    An earnest, sometimes bland and unsophisticated look at Corinne's undulating relationship to spirituality in general and Christian dogma in particular. But it's also a surprisingly well-made character study outside of its specific theme.
    • 75 Metascore
    • 75 Eric Kohn
    While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
    • 36 Metascore
    • 75 Eric Kohn
    Art History is essentially Swanberg's version of "Zach and Miri Make a Porno," and, within the larger context of his career, just as inconsequential.
    • 65 Metascore
    • 75 Eric Kohn
    For anyone frustrated with countless formulaic exercises that drain modern horror of fresh ideas, Tucker & Dale is a downright cathartic indictment that encourages comparison to the "Scary Movie" franchise. It's mostly a smart spoof that looks awfully dumb for a reason.
    • 78 Metascore
    • 75 Eric Kohn
    Deeply sorrowful and drenched in ambiguity, My Joy adopts a patient rhythm that departs from reality while studying it in depth.
    • 17 Metascore
    • 75 Eric Kohn
    Like the original, the most shocking aspect comes from the revelation that Six can actually tell a story.
    • 67 Metascore
    • 75 Eric Kohn
    Elevate nails the mission, but not the message.
    • 60 Metascore
    • 75 Eric Kohn
    Of course, it might take time for Jim Loach to catch up with his father's track record; Oranges & Sunshine is a good place to start.
    • 52 Metascore
    • 75 Eric Kohn
    Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.
    • 64 Metascore
    • 75 Eric Kohn
    Dennis Farina's washed-up hustler in The Last Rites of Joe May is designed in the in the mold of a classic movie star tough guy, but the veteran character actor's performance also serves to disassemble it.
    • 71 Metascore
    • 75 Eric Kohn
    Padilha channeled national frustrations into zeitgeist entertainment. The follow-up, Elite Squad: The Enemy Within, has less success than the first installment in achieving that aim, but still keeps the snazzy combination of spectacle and polemics in check.
    • 67 Metascore
    • 75 Eric Kohn
    On the one hand, Outrage suffers from a cold removal from the events portrayed onscreen, mainly a series of arguments and gory acts of retribution. It's often a terrible bore. But the stylish execution renders many moments into imminently watchable pastiche.
    • 71 Metascore
    • 75 Eric Kohn
    With self destruction as destiny, Reitman has made the equivalent of a Roland Emmerich disaster movie writ small, an apocalyptic scenario internalized by a single person.
    • 65 Metascore
    • 75 Eric Kohn
    With the exception of a few candid moments featuring James at home, Knuckle isn't particularly well-made, but there's an inherently fascinating quality to the material.
    • 57 Metascore
    • 75 Eric Kohn
    It's no less of an accomplished performance than Hilary Swank's similar turn in "Boys Don't Cry" or newcomer Zoé Herán's delicate achievement as the lead in "Tomboy." Unfortunately, Albert Nobbs traps Close's sizable talent in a simplistic drama--not unlike Nobbs herself who winds up trapped in a restrictive period.
    • 64 Metascore
    • 75 Eric Kohn
    One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
    • 63 Metascore
    • 75 Eric Kohn
    Keyhole never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
    • 78 Metascore
    • 75 Eric Kohn
    Viewed as a single experience, Oki's Movie is a curious oddity worthy of multiple viewings and lengthy contemplation, but its tricky formalism makes it less overtly satisfying on an emotional level.
    • 78 Metascore
    • 75 Eric Kohn
    A spectacular noir epic that's equal parts murky, bloated, flashy and triumphantly cinematic. Four years after Nolan's "Batman Begins" sequel "The Dark Knight" rattled audiences with a similar audiovisual overload, the new movie falls into the same rhythm and remains viscerally satisfying even when the story falters.
    • 76 Metascore
    • 75 Eric Kohn
    With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.
    • 57 Metascore
    • 75 Eric Kohn
    Any bona fide sushi fan stands to benefit from the general wake up call that "The Global Catch" provides in ample doses.
    • 62 Metascore
    • 75 Eric Kohn
    Even when it stumbles, however, 2 Days in New York retains an airy vibe, reflecting its dogged intention to charm its viewers. But seeing as "2 Days in Paris" never felt especially irksome, this affable sequel deserves the same insouciant shrug.
    • 55 Metascore
    • 75 Eric Kohn
    Beloved never really earns its sprawling timeline, eventually getting bogged down with too many developments and overstaying its welcome. For a movie where people intermittently burst into song, the plot is oddly one-note.
    • 68 Metascore
    • 75 Eric Kohn
    It's a movie that must be seen, processed and discussed, perhaps the first of its kind to transform the audience into a focus group.
    • 58 Metascore
    • 75 Eric Kohn
    Since 2005's "A History of Violence," Cronenberg has ventured beyond the grotesque allegorical interests of his earlier movies, a shift that has led some longtime fans to assume he has softened up. As an enjoyably peculiar anti-capitalist indictment, Cosmopolis proves otherwise.
    • 68 Metascore
    • 75 Eric Kohn
    The whole experience is one long rant in radiant colors.
    • 84 Metascore
    • 75 Eric Kohn
    There's a adrenaline rush even in the problematic finish, an eagerness that drives the filmmaking so that Looper is thrilling to watch even when it falls apart.
    • 59 Metascore
    • 75 Eric Kohn
    Fitfully uneven, Dredd is nevertheless an intriguing consolidation of action-movie excess -- and even makes a solid case for its aesthetic appreciation.
    • 53 Metascore
    • 75 Eric Kohn
    The movie makes up for uneven dialogue and pacing issues through sheer horrific imagery.
    • 71 Metascore
    • 75 Eric Kohn
    Winstead's performance provides a trenchant wakeup call even when the movie can't keep pace.
    • 65 Metascore
    • 75 Eric Kohn
    The Bay manages to scare up a real fear of environmental neglect. It's quite possibly the first example of jump scares used in service of activism.
    • 86 Metascore
    • 75 Eric Kohn
    At two and a half hours, Lincoln contains only a single battle scene in its opening seconds. The rest is pure talk, a keen dramatization of Doris Kearns Goodwin's tome "Team of Rivals," that delivers an overview of Lincoln's crowning achievement in chunks of strategy talk.
    • 55 Metascore
    • 75 Eric Kohn
    Hitchcock largely succeeds at pulling back the veil on his off-camera personality. To a larger degree, it reveals the level of influence of his devoted wife and screenwriter Alma (Helen Mirren) on both his personal life and career.
    • 62 Metascore
    • 75 Eric Kohn
    Even as California Solo plays like a track we've heard before, it's still worth a listen.
    • 58 Metascore
    • 75 Eric Kohn
    If you're willing to just go with it, An Unexpected Journey is a competent ride, but as a whole it lacks purpose, giving the impression of a television program in its later seasons still chugging along while full aware that it has peaked. Needless to say, "Hobbit" fans will find plenty to soak in; others may get the feeling of being bludgeoned by deja vu.
    • 51 Metascore
    • 75 Eric Kohn
    Happy New Year provides a rare glimpse into the darker ramifications of war that rarely take center stage in the national dialogue. This struggle has nothing to do with political motives or tactical movements, but rather the battle to retain sanity against impossible odds.
    • 81 Metascore
    • 75 Eric Kohn
    At times more in line with "Blazing Saddles" than the grimly bawdy qualities that define many bonafide oaters, Django Unchained erupts with a conceptual brilliance from the outset that never fully meshes with its clumsy storyline. Nevertheless, it's a giddy ride.
    • 56 Metascore
    • 75 Eric Kohn
    Overlong and unfocused in parts, Salles' adaptation nonetheless holds together about as well a movie can when the odds are so heavily stacked against it.
    • 79 Metascore
    • 75 Eric Kohn
    Mungiu's method creates the feeling of being submerged in a maze of confrontations and chatter, but the build-up gets so tiring that the concluding scenes come as a relief instead of a payoff.
    • 60 Metascore
    • 75 Eric Kohn
    As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.
    • 57 Metascore
    • 75 Eric Kohn
    Writer-director Todd Berger, improving his technique with his second feature-length credit following "The Scenesters," combines enough energetic performances with charged wit to make this one doomsday comedy that earns the right to its familiar backdrop.
    • 46 Metascore
    • 75 Eric Kohn
    Black Rock never reinvents the rules, but it understands them just well enough to make its bloodless stabs at ingenuity stand out.
    • 57 Metascore
    • 75 Eric Kohn
    Zombie's witches aren't as scary as the credible psychopaths he has portrayed before, but The Lords of Salem contains enough frenzied imagery in its climactic moments to make the spell linger.
    • 73 Metascore
    • 75 Eric Kohn
    The opposing genre extremes never entirely come together.
    • 73 Metascore
    • 75 Eric Kohn
    The movie contains an epic scope that feels out of sync with the smallness of its plot; you get the idea by the first act and then Laurence's world simply hangs there for another two hours like a slo-mo shrug.
    • 53 Metascore
    • 75 Eric Kohn
    Passion simultaneously parodies its plot while elevating it to a strangely involving exercise in cinematic drama. The filmmaker has either lost control of the material or maintains the same calculation of his protagonists. But the entertainment value associated with that uncertainty is the essence of his career.
    • 68 Metascore
    • 75 Eric Kohn
    As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
    • 66 Metascore
    • 75 Eric Kohn
    By the standards of Jordan's earlier films, "Byzantium" is unquestionably a minor achievement, but its technical specs help flesh out a thick environment that elevates the proceedings to a lyrical plane.
    • 66 Metascore
    • 75 Eric Kohn
    Coppola presents a smart cross-examination of the impact of media exposure on fickle young minds. While the ambitions of its young thieves often blur together and lack precise definition, The Bling Ring is the director's breeziest work, allowing the story to glide along with the ease of a heist movie.
    • 78 Metascore
    • 75 Eric Kohn
    In the Fog develops an unearthly spell that largely makes up for its cerebral pace.
    • 83 Metascore
    • 75 Eric Kohn
    Though slow-going for much of its running time, Arbor's delicate tale culminates with a frighteningly choreographed tragedy, but tacks on a beautifully evocative and mostly wordless epilogue that carries the semblance of progress.
    • 69 Metascore
    • 75 Eric Kohn
    The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit.
    • 65 Metascore
    • 75 Eric Kohn
    Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
    • 43 Metascore
    • 75 Eric Kohn
    As a statement about the fixed nature of cinematic tropes, Redemption provides a compelling supplement to Statham's current stardom.
    • 25 Metascore
    • 75 Eric Kohn
    Killing Season is like the Saturday morning cartoon version of a terrible movie: still bad, but at least colorful enough to go down easy.
    • 68 Metascore
    • 75 Eric Kohn
    Given the saturation of the found footage horror genre, Cordero's approach delivers a much shrewder alternative that goes beyond the power of suggestion by rooting its otherworldly fears in authenticity.
    • 81 Metascore
    • 75 Eric Kohn
    Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
    • 61 Metascore
    • 75 Eric Kohn
    If Elysium is the brainiest Hollywood movie of the summer, it's also the most conflicted one.
    • 66 Metascore
    • 75 Eric Kohn
    The Butler carries an authenticity that sustains it through its cloying stretches.
    • 83 Metascore
    • 75 Eric Kohn
    It's hard to imagine Captain Phillips in the hands of any other filmmaker -- and Captain Phillips in the hands of Greengrass looks exactly like anyone familiar with his work would expect. It does justice to the material even while playing too conscientiously by the book.
    • 58 Metascore
    • 75 Eric Kohn
    A distinctly uneven but imminently watchable theatrical showcase in which cinematic and stagy devices go head to head with no clear winner.
    • 84 Metascore
    • 75 Eric Kohn
    The narrative only really stumbles because its tone never manages to convince on the level that McConaughey's performance eventually does. With its subdued approach, Dallas Buyers Club stops just short of an emotional payoff.
    • 70 Metascore
    • 75 Eric Kohn
    While both pieces of the entire package generally work independently of each other, they have just enough ingredients to necessitate a viewing of the whole thing.
    • 75 Metascore
    • 75 Eric Kohn
    Though suffering from dry patches and a fairly mannered approach, The Invisible Woman eventually makes its way to a powerful final third documenting an ultimately tragic romance in deeply felt terms.
    • 69 Metascore
    • 75 Eric Kohn
    Though it lacks a cohesive means of fusing together its interlocking vignettes, Palo Alto effectively showcases the despair and sophomoric rebellion of teen life with a mature eye that clearly establishes a new filmmaker to watch.
    • 60 Metascore
    • 75 Eric Kohn
    It's a showcase of proficient storytelling that's eager to entertain.
    • 69 Metascore
    • 75 Eric Kohn
    Over the course of 106 minutes, Rumsfeld's rambling assertions grow exhausting, particularly because Morris never manages to direct them toward a larger argument.
    • 62 Metascore
    • 75 Eric Kohn
    The capacity for "Milo" to foreground its human character over his unspeakably nasty situation makes the whole package go down a lot better than one might expect.
    • 65 Metascore
    • 75 Eric Kohn
    It's almost enough to make you wish that Kokidas and co-writer Austin Bunn had fictionalized the story. But then again, a beardless Ginsberg isn't really Ginsberg at all, which gives Radcliffe all the room to play around with the character that he needs. It might be best spell yet.
    • 48 Metascore
    • 75 Eric Kohn
    Undoubtedly one of the weirder, narratively sophisticated adult dramas released by a major studio this year, The Counselor is also just enjoyable enough to hint at the unrealized potential of the main talent behind its creation.
    • 48 Metascore
    • 75 Eric Kohn
    As Last Vegas glides along, satisfying expectations while always aiming low, it makes peace with being inoffensively mediocre. Like Vegas itself, the story goes down easy, but its appeal is hard to remember once you leave it behind.
    • 63 Metascore
    • 75 Eric Kohn
    Just strange enough to get inside your head, it's ultimately less committed to the meaning behind its events than the lucid means by which they take place.
    • 54 Metascore
    • 75 Eric Kohn
    Like Whedon's whip-smart "Avengers" screenplay, Thor: The Dark World manages to acknowledge the inherently silly nature of its premise while compellingly asserting that, hey, sometimes it's fun to suspend your disbelief when the results look this good.
    • 73 Metascore
    • 75 Eric Kohn
    While Johnsen competently follows Ai over the course of more than a year of contemplation and anger, "The Fake Case" doesn't introduce anything new to the equation, and mainly succeeds by virtue of its subject's inherent appeal.
    • 75 Metascore
    • 75 Eric Kohn
    There's no question about the efficacy of Scorsese's filmmaking prowess, only that he never knows -- or doesn't care -- to slow down and deepen the material.
    • 62 Metascore
    • 75 Eric Kohn
    A minor effort in a filmography largely composed of them, All the Light in the Sky is nonetheless satisfying on the terms it establishes early on.
    • 47 Metascore
    • 75 Eric Kohn
    As a fleeting essay on sexual biases, it encourages a thoughtful debate, but leaves too many questions dangling to solidify into much beyond a dashed experiment.
    • 37 Metascore
    • 75 Eric Kohn
    Chun treats the material with a sophistication that brings its pulpy scenario down to earth. Not even Bryan Cranston with a cheap Slavic accent can stop him.
    • 75 Metascore
    • 75 Eric Kohn
    Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
    • 57 Metascore
    • 75 Eric Kohn
    While still invested in grandiose swipes at big ideas and the epistemological babbling of a late night college dorm room conversation, Cahill generates an authentic sense of mystery by keeping a tighter lid on the secrets of the universe.
    • 74 Metascore
    • 75 Eric Kohn
    Judging by Johnson's previous feature, "True Adolescence," he's better at crafting characters with credible problems than finding equally credible ways of exploring them. Fortunately, in the case of Skeleton Twins, the actors do the legwork.
    • 58 Metascore
    • 75 Eric Kohn
    Poyser doesn't do anything we haven't seen before, but the familiar ingredients are done just right.
    • 84 Metascore
    • 75 Eric Kohn
    Unapologetically long and messy, Snowpiercer offers an unhinged ride that's worth the investment for its mixture of batty personalities, consistently impressive visuals and mad swipes at heavy symbolism jam-packed together.
    • 73 Metascore
    • 75 Eric Kohn
    Only the band's continuing popularity makes his journey stand out. Like its director-star, Mistaken For Strangers struggles admirably but can only go so far before letting the established talent win out.
    • 67 Metascore
    • 75 Eric Kohn
    The absence of suspense results in something closer to a one-sided pat on the back for everyone involved, though it effectively puts forth a whole new set of challenges.
    • 57 Metascore
    • 75 Eric Kohn
    Increasingly silly even as it maintains a grave tone, Proxy doesn't always work, but its commitment to unpredictable twists and pushing beyond morbid extremes bears the stamp of showmanship sorely lacking from many other examples of the genre.