For 585 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 17.4 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Barbara
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 9 out of 585
585 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 75 Eric Kohn
    It's fascinating to watch Murray act circles around his existing appeal and play into it at the same time. Melfi's likable but utterly formulaic movie never rises to a similar level of ambition, which in this case actually works in its favor. It gives Murray room to play.
    • 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.
    • 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.
    • 61 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.
    • 58 Metascore
    • 75 Eric Kohn
    Poyser doesn't do anything we haven't seen before, but the familiar ingredients are done just right.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 75 Eric Kohn
    Like a gesture from the rapper acknowledging his crowd, "Time Is Illmatic" is competent bait for Nas fans that leaves the door open just wide enough for newcomers to appreciate the fuss from afar.
    • 71 Metascore
    • 75 Eric Kohn
    No matter its silliest missteps, Welcome to New York has an impressive engine of ideas in line with the director's other New York stories.
    • 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.
    • 60 Metascore
    • 75 Eric Kohn
    A minor work by Loach's standards, the movie nevertheless marks his most enjoyable effort in years.
    • 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.
    • 63 Metascore
    • 75 Eric Kohn
    Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
    • 67 Metascore
    • 75 Eric Kohn
    The calibration of mature performances and a reasonably credible, if somewhat familiar, scenario make "Eleanor Rigby" a lot more watchable than the strange conceit of the production.
    • 67 Metascore
    • 75 Eric Kohn
    Neither surprising or groundbreaking in any particular way, the movie gives us what we want and leaves it at that.
    • 56 Metascore
    • 67 Eric Kohn
    Largely a cut-and-paste affair, although useful for that very reason; it provides a glaring reminder that scary movies have evolved, both in terms of style and expectations, but the evolution isn't worth the effort.
    • 67 Metascore
    • 67 Eric Kohn
    The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
    • 35 Metascore
    • 67 Eric Kohn
    The whole thing is a flimsy parody of an easy target-at best infectious and at worst gratingly incoherent, but uniformly original.
    • 65 Metascore
    • 67 Eric Kohn
    Bier has done far more compelling work before, but the globe-spanning, life-affirming, morally upright trajectory of her latest accomplishment weakens its quality while sustaining its popularity. In a Better World is heavy, but it's also heavy-handed.
    • 36 Metascore
    • 67 Eric Kohn
    Easy on the eyes, intermittently amusing and never downright awful.
    • 68 Metascore
    • 67 Eric Kohn
    Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
    • 56 Metascore
    • 67 Eric Kohn
    The result is a subpar comic adventure that's nonetheless admirable for its restrained vision of Thompson in his early gestation period.
    • 70 Metascore
    • 67 Eric Kohn
    The Spanish auteur has a good time with outrageous plot twists and offbeat sexual intrigue. However, Almodóvar appears unmotivated to even try holding it all together. Instead, he lets the mess pile up and enjoys it.
    • 52 Metascore
    • 67 Eric Kohn
    As exercises in pulp go, this one yields a solid workout.
    • 53 Metascore
    • 67 Eric Kohn
    Alternately mortified and charmed by the unhinged lifestyle, the film goofily celebrates the idea of a societal escape before drowning its idealism in a puddle of half-formed jokes.
    • 63 Metascore
    • 67 Eric Kohn
    Well cast and undeniably attuned to the nuances of human behavior, Amigo nevertheless suffers from simple dramatic shorthand.
    • 65 Metascore
    • 67 Eric Kohn
    The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
    • 48 Metascore
    • 67 Eric Kohn
    Anne Hathaway's faux British accent might be the first obvious conceit in One Day, but not its most cumbersome. That distinction belongs to the eponymous structure, a claustrophobic device that follows a pair of best friends over the course of a 22-year period, but only on many versions of July 15th.
    • 51 Metascore
    • 67 Eric Kohn
    Like the poster, Meet Monica Velour is engaging to a point, but leaves much to be desired.
    • 65 Metascore
    • 67 Eric Kohn
    The reason to care about Life, Above All doesn't stem from its bleeding-heart plot...The reason to care is newcomer Khomotso Manyaka, who nimbly shoulders a role that places her front and center in nearly every scene.
    • 64 Metascore
    • 67 Eric Kohn
    Weisz flirts with greatness but unfortunately misses the opportunity to make the material soar. And yet he comes close.
    • 42 Metascore
    • 67 Eric Kohn
    While indisputably beautiful and affecting in parts, "Snow Flower" is dominated by tame dramatic ingredients that never fully gel.
    • 72 Metascore
    • 67 Eric Kohn
    Unlike the polished universe of Pixar's "Brave" or countless other recent CGI efforts, ParaNorman maintains a delicate, handcrafted look that underscores its ideas.
    • 59 Metascore
    • 67 Eric Kohn
    Stone's uneven direction veers from near-amateurish genre antics to an enjoyable awareness of those same standards.
    • 64 Metascore
    • 67 Eric Kohn
    Too in love with itself to ever totally go off the rails, Pacific Rim doesn't qualify as the first full-on dud of del Toro's career, but it's hard not to get the sense that something's missing.
    • 75 Metascore
    • 67 Eric Kohn
    An impressive feat that relies on distraction rather than fancy effects, it's easy to get swept up and forget that it's a very sweaty retread that's been done many times before.
    • 61 Metascore
    • 67 Eric Kohn
    Polanski struggles to make the material more cinematic, toying with clever mise-en-scene to showcase the mounting tensions. However, Carnage repeatedly suffers from an internal tension between the possibilities of two media at odds with each other.
    • 63 Metascore
    • 67 Eric Kohn
    World War Z may wear its intellect proudly, but also consciously translates the zombie premise into a safer context for wider audiences. It's not the smartest zombie movie ever made, but might be the most commercial one.
    • 58 Metascore
    • 67 Eric Kohn
    There are plenty of guts, but The Woman doesn't have enough to make its feminist rhetoric stick.
    • 65 Metascore
    • 67 Eric Kohn
    The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
    • 74 Metascore
    • 67 Eric Kohn
    Over time, Holland's approach pushes beyond despair and turns into a pure exercise in grim atmosphere, shifting from a story of staying alive to a closeup of a private hell.
    • 67 Metascore
    • 67 Eric Kohn
    Can actors save a mediocre movie? In London River, they come close. Blethyn's frantic, sad naivete creates a fascinating contrast to Kouyaté's understated performance.
    • 58 Metascore
    • 67 Eric Kohn
    Admittedly lovely and heartfelt, Norwegian Wood is also hollow.
    • 57 Metascore
    • 67 Eric Kohn
    An ode to the strength of onscreen horror even in its less inspired state, the new Evil Dead primarily succeeds at illustrating how the originals have managed to stand the test of time.
    • 59 Metascore
    • 67 Eric Kohn
    It pitches a tone between comedy and tragedy that holds unique appeal.
    • 49 Metascore
    • 67 Eric Kohn
    The long take pulls you into the realism of the moment, heightening any sense of unease already established by the story. In Silent House, directors Chris Kentis and Laura Lau ("Open Water") exploit the hell out of that uneasiness and keep pushing its limits.
    • 66 Metascore
    • 67 Eric Kohn
    The Snowtown Murders manages to become a compelling exercise that excels at making horrible acts look shockingly listless.
    • 49 Metascore
    • 67 Eric Kohn
    Gerwig singlehanded carries this blithe, generally forgettable story.
    • 75 Metascore
    • 67 Eric Kohn
    The filmmaker's first-rate access feels like a kind of desecration.
    • 55 Metascore
    • 67 Eric Kohn
    Tom Hanks' appearances come across like scene changes between unfunny sketches on 'Saturday Night Live.'
    • 73 Metascore
    • 67 Eric Kohn
    It suffers from the greater problem of emphasizing a feel-good plot within the context of mass destruction.
    • 59 Metascore
    • 67 Eric Kohn
    The whole thing is a step above studio romantic comedies, but that's not saying much.
    • 53 Metascore
    • 67 Eric Kohn
    Cafe de Flore constantly hovers on the brink on some revelation it never quite arrives at.
    • 55 Metascore
    • 67 Eric Kohn
    Promised Land can't help but preach its cause in obvious ways that continually hold back an otherwise well-acted, swiftly paced drama.
    • 65 Metascore
    • 67 Eric Kohn
    While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.
    • 71 Metascore
    • 67 Eric Kohn
    Edge of Tomorrow is slick, but once its fancy plot dressing takes form, it has little more to offer aside from a few impressive action sequences and the infallible grin of its nimble lead.
    • 71 Metascore
    • 67 Eric Kohn
    Recording "Body and Soul" with Bennet only a short period before her death, Winehouse's simultaneously effusive presence not only illustrates her fragility but stands in sharp contrast to the stable work ethic that Bennett has cultivated over the course of his 60-year career.
    • 56 Metascore
    • 67 Eric Kohn
    There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
    • 60 Metascore
    • 67 Eric Kohn
    Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
    • 42 Metascore
    • 67 Eric Kohn
    While never as dynamically involving as Christopher Nolan's "Inception," for which longtime Nolan director of photography Pfister justifiably won an Oscar, Transcendence still grapples with provocative existential concepts in similarly thoughtful terms.
    • 21 Metascore
    • 67 Eric Kohn
    By exploring a narrow scenario from one chapter of Kelly's life, Grace of Monaco plays like fragments of an uncompleted biopic that's been art directed within an inch of its life.
    • 67 Metascore
    • 67 Eric Kohn
    Crystal Fairy has little to say beyond Cera's capacity to transform into an amazingly uncomfortable screen presence, something we already knew.
    • 66 Metascore
    • 67 Eric Kohn
    Well made as it is, Don Jon suffers from a half-baked scenario that never manages to make its characters as intriguing as the problems that afflict its protagonist. It's a movie that shows better than it tells, even as it leaves much up to the imagination.
    • 69 Metascore
    • 67 Eric Kohn
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
    • 38 Metascore
    • 67 Eric Kohn
    Whether Girl Most Likely intentionally satirizes its upending of conventions or suffers from a half-assed screenplay, the resulting hodgepodge at least livens up a clichéd premise.
    • 86 Metascore
    • 67 Eric Kohn
    It's a sad, thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present, ideas that Payne regards with gentle humor and pathos but also something of a shrug.
    • 77 Metascore
    • 67 Eric Kohn
    As a conversation starter, The World Before Her gets the job done. By virtue of the topic and interviews, Pahuja showcases plenty of tensions between old world values and idealistic goals. That's hardly enough to make its narrative persistently alluring or emotionally sound.
    • 44 Metascore
    • 67 Eric Kohn
    In A Million Ways to Die in the West, MacFarlane loads up enough zaniness to make for a generally enjoyable mashup, particularly because the genial plot affords him a solid backdrop.
    • 73 Metascore
    • 67 Eric Kohn
    The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
    • 76 Metascore
    • 67 Eric Kohn
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
    • 59 Metascore
    • 67 Eric Kohn
    A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
    • 60 Metascore
    • 67 Eric Kohn
    To be fair, Breathe In may hit a lot of familiar beats, but none of them are entirely unwelcome.
    • 71 Metascore
    • 67 Eric Kohn
    Though Get On Up never congeals into a satisfactory whole, its fragmentary portrait of the singer at the height of his fame — intercut with his troubled single-parent childhood — effectively shows his invasive power in popular culture.
    • 57 Metascore
    • 67 Eric Kohn
    It's less of a showcase for Bateman's ability to direct comedic storytelling than simply to make people laugh, which makes Bad Words a sufficiently vulgar playground.
    • 62 Metascore
    • 67 Eric Kohn
    As a whole, Begin Again is a fairly mannered treatment of an expressive medium.
    • 59 Metascore
    • 67 Eric Kohn
    It tries to have some bite to its will-they-or-won't-they scenario but ultimately winds up toothless.
    • 61 Metascore
    • 67 Eric Kohn
    Lucy doesn't hold together, but with its flashy innovation, Besson's trying to freshen the formula. It's the kind of freewheeling mess of a movie you wish studios would try out more often.
    • 78 Metascore
    • 67 Eric Kohn
    Singled-handedly carrying the story to its inevitable conclusion, [Wasikowska] gives Tracks a level of depth that nothing else in the movie can provide.
    • 68 Metascore
    • 67 Eric Kohn
    Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.
    • 72 Metascore
    • 67 Eric Kohn
    No matter how much The Theory of Everything showcases the incredible process through which Hawking maintains a connection to the rest of the world, it falls short of burrowing inside his head.
    • 69 Metascore
    • 67 Eric Kohn
    Boone’s unobtrusive style takes cues from the subdued nature of the material, but there’s little about the movie that makes the filmmaking stand out. Instead, it derives its chief strengths from a series of efforts to take the drama seriously, mainly embodied by Woodley’s onscreen investment in it.
    • 65 Metascore
    • 67 Eric Kohn
    While frequently very funny and sustained by a pair of boldly unlikable female protagonists, Fort Tilden adopts the glorious stupidity of its stars, and echoes their gratingly obnoxious temperaments.
    • 76 Metascore
    • 67 Eric Kohn
    Witherspoon excels as a committed figure battling through each rough day. So long as the action remains on the trail, Vallée stages an engaging survivalist tale that plays up the resolve on Witherspoon's face, complemented with the rich visuals of an expansive landscape.
    • 48 Metascore
    • 67 Eric Kohn
    Whenever Lee ventures away from the outrageous particulars of the plot, "Da Sweet Blood of Jesus" transforms into a stylish means of exploring contemporary struggles in urban black America by depicting it as a ballet of navigating personal and practical conflicts alike.
    • 66 Metascore
    • 67 Eric Kohn
    Takei is a natural storyteller who lends an enjoyable flow to the movie’s uncomplicated proceedings.
    • 47 Metascore
    • 67 Eric Kohn
    Before I Disappear features several moments of genuine emotion in an otherwise underwhelming plot involving the main character coming out of his shell. It's a heartfelt journey, but we've seen it before, without the excess distractions.
    • 50 Metascore
    • 58 Eric Kohn
    A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
    • 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.
    • 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.
    • 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.

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