For 564 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 Manakamana
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 9 out of 564
564 movie reviews
    • 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.
    • 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.
    • 60 Metascore
    • 75 Eric Kohn
    A minor work by Loach's standards, the movie nevertheless marks his most enjoyable effort in years.
    • 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.
    • 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.
    • 49 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.
    • 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.
    • 70 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.
    • 72 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.
    • 71 Metascore
    • 75 Eric Kohn
    Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
    • 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.
    • 67 Metascore
    • 67 Eric Kohn
    The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
    • 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.
    • 51 Metascore
    • 67 Eric Kohn
    Like the poster, Meet Monica Velour is engaging to a point, but leaves much to be desired.
    • 36 Metascore
    • 67 Eric Kohn
    Easy on the eyes, intermittently amusing and never downright awful.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 67 Eric Kohn
    Well cast and undeniably attuned to the nuances of human behavior, Amigo nevertheless suffers from simple dramatic shorthand.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 67 Eric Kohn
    There are plenty of guts, but The Woman doesn't have enough to make its feminist rhetoric stick.
    • 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.
    • 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.
    • 65 Metascore
    • 67 Eric Kohn
    The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
    • 52 Metascore
    • 67 Eric Kohn
    As exercises in pulp go, this one yields a solid workout.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 59 Metascore
    • 67 Eric Kohn
    It pitches a tone between comedy and tragedy that holds unique appeal.
    • 59 Metascore
    • 67 Eric Kohn
    Stone's uneven direction veers from near-amateurish genre antics to an enjoyable awareness of those same standards.
    • 59 Metascore
    • 67 Eric Kohn
    The whole thing is a step above studio romantic comedies, but that's not saying much.
    • 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.
    • 55 Metascore
    • 67 Eric Kohn
    Tom Hanks' appearances come across like scene changes between unfunny sketches on 'Saturday Night Live.'
    • 65 Metascore
    • 67 Eric Kohn
    While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.
    • 73 Metascore
    • 67 Eric Kohn
    It suffers from the greater problem of emphasizing a feel-good plot within the context of mass destruction.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 67 Eric Kohn
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 37 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.
    • 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.
    • 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.
    • 80 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.
    • 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.
    • 60 Metascore
    • 67 Eric Kohn
    To be fair, Breathe In may hit a lot of familiar beats, but none of them are entirely unwelcome.
    • 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.
    • 69 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.
    • 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.
    • 45 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 67 Eric Kohn
    Takei is a natural storyteller who lends an enjoyable flow to the movie’s uncomplicated proceedings.
    • 75 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.
    • 68 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.
    • 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.
    • 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.
    • 37 Metascore
    • 58 Eric Kohn
    Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 54 Metascore
    • 58 Eric Kohn
    This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 58 Eric Kohn
    Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
    • 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.