For 620 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 17.5 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 The Duke of Burgundy
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 620
620 movie reviews
    • 76 Metascore
    • 83 Eric Kohn
    Buck Brannaman, the subject of Cindy Meehl's engaging documentary profile Buck, has a warm presence and knows how to tame horses better than anyone else.
    • 56 Metascore
    • 83 Eric Kohn
    The most impressive thing about In the Land of Blood and Honey is that Jolie makes you feel it.
    • 82 Metascore
    • 83 Eric Kohn
    The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.
    • 74 Metascore
    • 83 Eric Kohn
    Before all else, Villneuve's grim chronicle of the fallout when two young girls vanish in a small town succeeds at crafting one powerfully suspenseful moment after another.
    • 87 Metascore
    • 83 Eric Kohn
    Director Bennett Miller has produced a warm and generally agreeable character study about the pratfalls of athletic institutions and the willingness to think outside the box.
    • 71 Metascore
    • 83 Eric Kohn
    Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
    • 69 Metascore
    • 83 Eric Kohn
    While visually scrumptious, the movie struggles to reach a greater profundity that it never quite obtains, but its childlike emulation of a grand tragedy is indelibly precious.
    • 67 Metascore
    • 83 Eric Kohn
    The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.
    • 72 Metascore
    • 83 Eric Kohn
    Magic Mike casts a seriously entertaining spell.
    • 57 Metascore
    • 83 Eric Kohn
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
    • 82 Metascore
    • 83 Eric Kohn
    Produced by Keanu Reeves, this talking heads survey of the transition from shooting on film to digital video is against all odds an imminently watchable overview, and not only because Reeves has decent interview skills.
    • 73 Metascore
    • 83 Eric Kohn
    A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
    • tbd Metascore
    • 83 Eric Kohn
    Dastmalchian's screenwriting debut bodes well for an alternative career alongside his performances. While never transcendent, the story's patient rhythms allow for a wholly believable world to take shape before it comes crashing down.
    • 74 Metascore
    • 83 Eric Kohn
    The story retains an inscrutable tone that sometimes makes its emotional qualities feel remote, but it still delivers a powerful message about the challenge of self-diagnosis by rooting it in universal experience
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 75 Metascore
    • 83 Eric Kohn
    While overlong and occasionally too reliant on a formulaic set of motives to drive the action forward, Easy Money retains its suave composure right through the engrossing finale.
    • tbd Metascore
    • 83 Eric Kohn
    More than anything else, Hello, My Name is Doris effectively conveys the cruel ambivalence of an ageist society, and despite its formulaic ingredients, the movie responds to that setback with Field's exuberant, virtuoso turn providing the ultimate critical response.
    • 72 Metascore
    • 83 Eric Kohn
    Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.
    • 62 Metascore
    • 83 Eric Kohn
    Anchored by a remarkably convincing performance by James Franco in the lead role, I Am Michael manages to explore Glatze's story without condemning him, even as it foregrounds the troubling nature of his path.
    • 77 Metascore
    • 83 Eric Kohn
    The Hunting Ground is at its best when it stops dwelling on variations of the problem and points toward a solution.
    • 72 Metascore
    • 83 Eric Kohn
    If you've never heard of LCD Soundsystem or cared much for the group's work, Shut Up and Play the Hits still manages to explore the prospects of fame and contemporary rock music's lasting relevance.
    • 81 Metascore
    • 83 Eric Kohn
    Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.
    • 78 Metascore
    • 83 Eric Kohn
    Beware of Mister Baker won the Grand Jury Prize at the SXSW Film Festival earlier this year, perhaps because it was the best embodiment of a recent trend in the non-fiction realm.
    • 59 Metascore
    • 83 Eric Kohn
    Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.
    • 62 Metascore
    • 83 Eric Kohn
    With an eye for gritty, shameless fun, Friedkin unleashes the play's guilty pleasure center. Friedkin holds nothing back, but it's Letts' rambunctious plotting that enables the director to chart a path to the wild climax.
    • 79 Metascore
    • 83 Eric Kohn
    For a quarter of a century -- unbeknownst to most Americans, including Rodriguez's original producers -- the singer landed a massive following in the country where his humanitarian outlook provided an escape for many disgruntled youth struggling under apartheid, elevating him to the stature of a "South African Elvis."
    • 73 Metascore
    • 83 Eric Kohn
    The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
    • 75 Metascore
    • 83 Eric Kohn
    Despite the mixture of vérité footage and home movies showing the Angulos in their apartment, The Wolfpack feels more in line with a form of ethnographic storytelling than anything else, because the story is told exclusively in terms of their relationship to it.
    • 72 Metascore
    • 83 Eric Kohn
    Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
    • 61 Metascore
    • 83 Eric Kohn
    Boyle's filmmaking style has a marvelous rhythm that weaves pop sensibilities into fluid and persistently exciting narrative experiences; he shakes these ingredients like colored sand in a jar, leading a fascinating degree of discombobulation.
    • 80 Metascore
    • 83 Eric Kohn
    The Last of the Unjust rewards those willing to invest in Lanzmann's pensive technique with a complex tale that's alternately sad, enlightening, unexpectedly witty and ultimately exhausting, but carried along throughout by Lanzmann's commitment.
    • 58 Metascore
    • 83 Eric Kohn
    In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
    • 71 Metascore
    • 83 Eric Kohn
    For everything that Mozart's Sister imagines, it leaves much more up to imagination.
    • 52 Metascore
    • 83 Eric Kohn
    There's a certain elegant simplicity to the movie's execution that maintains a spirit of familiarity but also keeps the material afloat.
    • 61 Metascore
    • 83 Eric Kohn
    With "Gravity" around the corner, Metallica Through the Never isn't the year's most groundbreaking achievement, but it's surely the most earth-shattering, and that's enough to make it one helluva comeback story.
    • 62 Metascore
    • 75 Eric Kohn
    Even as California Solo plays like a track we've heard before, it's still worth a listen.
    • 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.
    • 76 Metascore
    • 75 Eric Kohn
    Though the special effects win the day, Guardians of the Galaxy holds court with a sense of humor that transcends its more familiar ingredients.
    • 58 Metascore
    • 75 Eric Kohn
    Poyser doesn't do anything we haven't seen before, but the familiar ingredients are done just right.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 75 Eric Kohn
    In spite of the constant activity, there's not a whole lot going on, but it's still a fun place to visit.
    • 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.
    • 78 Metascore
    • 75 Eric Kohn
    In the Fog develops an unearthly spell that largely makes up for its cerebral pace.
    • 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.
    • 59 Metascore
    • 75 Eric Kohn
    Jolie keeps the narrative afloat thanks to first-rate craftsmanship, a few well-honed moments of bonafide suspense, and a terrifically restrained Jack O'Connell in the lead role. While it only hints at the sweeping epic that never fully materializes, Unbroken offers further proof that Jolie's directorial instincts pass muster alongside her other talents.
    • 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.
    • 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.
    • 62 Metascore
    • 75 Eric Kohn
    Edwards manages to sustain a grim, cerebral atmosphere all the way through, as if fighting the inevitable demands of the material. The movie contains enough basic money shots to please hardcore Godzilla fans without indulging in them at every opportunity. By contemporary blockbusters standards, it's practically a minimalist enterprise.
    • 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.
    • 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.
    • 34 Metascore
    • 75 Eric Kohn
    Beers' screenplay manages to sustain the outrageous scenario with a string of jokes that don't take the underlying goofiness for granted. Instead, the writer-director builds on its crass foundations with constant inspired one-liners.
    • 69 Metascore
    • 75 Eric Kohn
    Though never entirely the sum of its parts, Party Girl delivers a gentle, somber portrait of the aging process that's consistently believable precisely because not much happens.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 75 Eric Kohn
    Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 75 Eric Kohn
    The movie's potential blossoms whenever it toys with the allegorical ingredients head-on. DeMonaco's script plays like a devious Brothers Grimm tale told through the filter of Occupy Wall Street.
    • 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.
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 75 Eric Kohn
    While the documentary's structure is somewhat uneven, its protagonists remain fascinating subjects whose recollections — along with backstories fleshed out by their wives and parents — include revelations of much greater challenges than the movie itself.
    • 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.
    • 81 Metascore
    • 75 Eric Kohn
    Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
    • 63 Metascore
    • 75 Eric Kohn
    Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
    • 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.
    • 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.
    • 58 Metascore
    • 75 Eric Kohn
    Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
    • 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.
    • 73 Metascore
    • 75 Eric Kohn
    Even though the story involves legitimate issues surrounding sexual identity and the boundaries of monogamy, its humor only goes surface deep. For the most part, the endearingly silly plot amounts to little more than sight gags and off-the-wall asides.
    • 64 Metascore
    • 75 Eric Kohn
    Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
    • 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.
    • 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.
    • 78 Metascore
    • 75 Eric Kohn
    Though hardly a singular achievement on par with its precedents in the filmmaker's career, Results shows the first indication of Bujalski's ability to tell stories on a larger scale.
    • 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.
    • 68 Metascore
    • 75 Eric Kohn
    Neither surprising or groundbreaking in any particular way, the movie gives us what we want and leaves it at that.
    • 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.
    • 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.
    • 61 Metascore
    • 75 Eric Kohn
    If Elysium is the brainiest Hollywood movie of the summer, it's also the most conflicted one.
    • 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).
    • 69 Metascore
    • 75 Eric Kohn
    Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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