For 635 reviews, this critic has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% 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 The Duke of Burgundy
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 10 out of 635
635 movie reviews
    • 55 Metascore
    • 100 Eric Kohn
    Most segments have a fair share of cheap scares, but they also delve into the art of the build-up, as if delivering a series of grim jokes with bloody punchlines. Consider it a 21st-century take on "Tales from the Crypt."
    • 85 Metascore
    • 100 Eric Kohn
    Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.
    • 81 Metascore
    • 100 Eric Kohn
    Shot in gorgeously expressionistic black-and-white and fusing multiple genres into a thoroughly original whole, Amirpour has crafted a beguiling, cryptic and often surprisingly funny look at personal desire that creeps up on you with the nimble powers of its supernatural focus.
    • 100 Metascore
    • 100 Eric Kohn
    Epic in scope yet unassuming throughout, Linklater's incredibly involving chronicle marks an unprecedented achievement in fictional storytelling.
    • 86 Metascore
    • 100 Eric Kohn
    On the whole, Manakamana succeeds by creating the ongoing anticipation of something, anything to happen next, a wholly unique sensation specific to its inventive design.
    • 80 Metascore
    • 100 Eric Kohn
    Melancholia hovers in ambiguity with riveting aesthetic prowess.
    • 78 Metascore
    • 100 Eric Kohn
    The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.
    • 82 Metascore
    • 100 Eric Kohn
    Taking its time to let the world take shape, Short Term 12 builds to an involving series of mini-climaxes without tidying up every loose end.
    • 86 Metascore
    • 100 Eric Kohn
    The movie's stakes are alternately personal and political, but Petzold's skill truly comes into focus in the tense climax, when those two aims come together with a powerful act of defiance.
    • 98 Metascore
    • 100 Eric Kohn
    A nuanced tale of mutual attraction that reflects a filmmaker and cast operating at the height of their powers, rendering complex circumstances in strikingly personal terms.
    • 86 Metascore
    • 100 Eric Kohn
    Rather than relish in the stark proceedings, Manuscripts Don't Burn preys on its viewers' imagination, leaving several deaths and other dreary outcomes off-screen. In the unbearable tension of its final moments, the movie arrives at an expected destination, but the outcome stings more than anything preceding it.
    • 87 Metascore
    • 100 Eric Kohn
    Strickland generates a discomfiting quality that keeps the mystery of his world in play. Above all else, he taps into the intangible elements of sexual attraction by bathing them in ambiguities.
    • 94 Metascore
    • 100 Eric Kohn
    First Cousin Once Removed benefits from the clarity provided by Honig's published poetry, which surfaces in voiceover narration and words on the screen, rendering the undulations of his life in sweeping abstractions.
    • 75 Metascore
    • 100 Eric Kohn
    Despite the ongoing momentum, Sleepless Night never loses touch with its story.
    • 63 Metascore
    • 100 Eric Kohn
    A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
    • 83 Metascore
    • 100 Eric Kohn
    Heinzerling's beautifully shot, painfully intimate look at the aging couple's struggle to survive amid personal and financial strain is both heartbreaking and intricately profound. This is a story about creative desire so strong it hurts.
    • 95 Metascore
    • 100 Eric Kohn
    It's a frantic microcosm of life itself.
    • 61 Metascore
    • 100 Eric Kohn
    The Troll Hunter offers high-caliber entertainment despite a low-budget production.
    • 91 Metascore
    • 100 Eric Kohn
    Compared to "The Act of Killing," Oppenheimer's technique with The Look of Silence is deceptively simple, but it applies a more traditional style of documentary storytelling to extraordinary goals.
    • 88 Metascore
    • 100 Eric Kohn
    The cumulative impact of The Arbor is one of claustrophobia; at times, the endlessly downbeat adventures of Dunbar and her offspring grow almost unbearably morose.
    • tbd Metascore
    • 100 Eric Kohn
    The Tiniest Place calls to mind Patricio Guzmán's brilliant "Nostalgia for the Light," which focuses on the remnants of Chilean atrocities strewn about the Atacama Desert. Huezo, however, relies more on irony, juxtaposing the wartime setting with storybook images, acknowledging her distance from the events in question.
    • 92 Metascore
    • 100 Eric Kohn
    Rather than building towards the finality of a single climax, Leviathan injects several of them into the tapestry of its elegant design.
    • 87 Metascore
    • 100 Eric Kohn
    The magic of Uncle Boonmee is that it makes all viewers feel like the strange ones.
    • 82 Metascore
    • 100 Eric Kohn
    Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
    • 58 Metascore
    • 100 Eric Kohn
    Byington excels at turning the edict that time waits for no one into a sensory experience. No matter how sly it gets, Somebody Up There Likes Me still retains that fundamental truth.
    • 77 Metascore
    • 100 Eric Kohn
    Buzzard is among the first great American satires of the 21st century, its scathing indictment of capitalism delivered as a prolonged, disorienting punchline.
    • 85 Metascore
    • 100 Eric Kohn
    As with "Shotgun Stories," Nichols assembles a tense portrait of blue-collar life, while deepening his thematic interests and working on a bigger scale. Burrowing into the subconscious of a damaged man, he delivers a modern American epic with extraordinary restraint.
    • 97 Metascore
    • 100 Eric Kohn
    More than a powerful elegy, 12 Years a Slave is a mesmerizing triumph of art and polemics: McQueen turns a topic rendered distant by history into an experience that, short of living through the terrible era it depicts, makes you feel as if you've been there.
    • 74 Metascore
    • 100 Eric Kohn
    The beautiful desolation of Bombay Beach makes it difficult to describe as a documentary. Alma Har'el's directorial debut takes a nonfiction setting and displays its haunting qualities in poetic terms.
    • 94 Metascore
    • 100 Eric Kohn
    Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.
    • 89 Metascore
    • 100 Eric Kohn
    At first galvanizing in its depiction of survival amid dire circumstances, "The Overnighters" transforms into a devastating portrait of communal unrest.
    • 77 Metascore
    • 100 Eric Kohn
    While adhering to an internal logic that makes each punchline land with a satisfying burst of glee, the movie nevertheless stems from genuine fury aimed a broken world. It's the rare storytelling endeavor that manages to be laughably absurd and profoundly tragic at the same time.
    • 95 Metascore
    • 100 Eric Kohn
    Bigelow delivers an acute realization of the mission's execution that's eerily in sync with the way it played in the popular imagination. Visually, the events unfold as a mashup of shadowy movements with flashes of green night vision. It's simultaneously predictable and tense.
    • 91 Metascore
    • 100 Eric Kohn
    Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.
    • 75 Metascore
    • 91 Eric Kohn
    In constructing its gripping overview, After Tiller maintains a generally straightforward roundup of talking heads, but its unassuming construction gradually generates an authoritative voice. Only once the arguments have been plainly established does the emotion truly take hold.
    • 84 Metascore
    • 91 Eric Kohn
    The Descendants constantly hovers on the brink of a dark comedy. But it never takes the big plug. By treading carefully, Payne has created his warmest, most earnest work, if not his best.
    • 74 Metascore
    • 91 Eric Kohn
    Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.
    • 75 Metascore
    • 91 Eric Kohn
    Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
    • 79 Metascore
    • 91 Eric Kohn
    While blatantly topical, this is not a political film of the moment, but rather a calculated meditation on self-defined purpose in the midst of societal confusion.
    • 68 Metascore
    • 91 Eric Kohn
    Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
    • 66 Metascore
    • 91 Eric Kohn
    It's an unflinching update to media scholar Neil Postman's prophetic claim about the deadly impact of television on cultural identity: Smartphones in hand, we face the danger of filming ourselves to death.
    • 85 Metascore
    • 91 Eric Kohn
    I had to see the new version twice to realize that there's so much to appreciate about this multilayered production.
    • 81 Metascore
    • 91 Eric Kohn
    Mackenzie (whose previous credits include "Perfect Sense" and "Young Adam") applies a sharp kitchen sink realism to this haunting setting and directs it toward an ultimately moving family drama that just happens to involve vicious convicts.
    • 89 Metascore
    • 91 Eric Kohn
    It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
    • tbd Metascore
    • 91 Eric Kohn
    Think "Death of a Salesman" with demons.
    • 81 Metascore
    • 91 Eric Kohn
    Sister may not arrive at a happy ending, but the lack of resolution -- capped off by the powerful last image --completes its journey to a place of rousing emotional clarity.
    • 83 Metascore
    • 91 Eric Kohn
    The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
    • 88 Metascore
    • 91 Eric Kohn
    A rich, almost impermeably strange example of Costa's slow-burn approach to abstract storytelling, Horse Money is more subdued and cryptic than its predecessors, to the point where it might be more appropriately described as a cinematic tone poem.
    • 67 Metascore
    • 91 Eric Kohn
    By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
    • 81 Metascore
    • 91 Eric Kohn
    Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
    • 73 Metascore
    • 91 Eric Kohn
    American action movies are almost entirely defined by cutaways, blaring music cues and grunts. The Raid: Redemption, a hyper-energetic Indonesian martial arts movie, delivers an effective rebuke to that meek norm. Bones break, blood flows and swift, excessively complicated fight choreography puts virtually everything released in North America since "The Bourne Ultimatum" to instant shame.
    • 86 Metascore
    • 91 Eric Kohn
    Steve James's The Interrupters runs long, but earns its heft.
    • 82 Metascore
    • 91 Eric Kohn
    With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.
    • 72 Metascore
    • 91 Eric Kohn
    Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
    • 72 Metascore
    • 91 Eric Kohn
    Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
    • 74 Metascore
    • 91 Eric Kohn
    The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
    • 91 Metascore
    • 91 Eric Kohn
    Baker once again manages to match underrepresented faces in American cinema with material that lets their personalities shine.
    • 61 Metascore
    • 91 Eric Kohn
    In "Adventureland" and this summer's "The Way Way Back," disillusioned teens have worked through their issues in the weeks leading up to college by taking on quirky summer jobs. However, Carey's wacky sensibilities retain a notably fresh quality by using the same framing device as an excuse to bat around one funny idea after another. The story transcends the derivative scenario through a noticeable lack of verbal censorship.
    • 64 Metascore
    • 91 Eric Kohn
    Imagine "Harold and Maude" directed by Eric Rohmer with shades of film noir and doused in philosophical chatter enhanced by ample white wine. But Domain isn't pure formula, because the subversion of expectations is its centerpiece.
    • 61 Metascore
    • 91 Eric Kohn
    In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
    • 85 Metascore
    • 91 Eric Kohn
    Tales from the Grim Sleeper concludes by offering up the haunting possibility that even if the killer has been caught, the systemic failures that let him get away with it for so long remain firmly in place.
    • 76 Metascore
    • 91 Eric Kohn
    The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
    • 81 Metascore
    • 91 Eric Kohn
    Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
    • 69 Metascore
    • 91 Eric Kohn
    In Another Country is a paragon of any given Hong movie's intrinsic charms, and yet it also manages to break from the pattern by including an English-speaking character as one of its leads.
    • 95 Metascore
    • 91 Eric Kohn
    Ever as it casts their future prospects in doubt, Virunga concludes by envying the apes’ perspective most of all.
    • 87 Metascore
    • 91 Eric Kohn
    The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
    • 90 Metascore
    • 91 Eric Kohn
    The Witch becomes a focused portrait of fixed rituals crumbling in the face of inexplicable forces, evoking the fear of change lurking in the shadows at every moment. Despite the setting, its scares are uniquely contemporary.
    • 67 Metascore
    • 91 Eric Kohn
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
    • 60 Metascore
    • 91 Eric Kohn
    The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
    • 85 Metascore
    • 91 Eric Kohn
    The tense, involving result confirms Sciamma's mastery over the coming-of-age drama, a genre too often reduced to its simplest ingredients.
    • 63 Metascore
    • 91 Eric Kohn
    The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
    • 87 Metascore
    • 91 Eric Kohn
    Despite the unruly music at its center, the filmmaker has crafted a uniformly gentle ode to growing up.
    • 84 Metascore
    • 91 Eric Kohn
    With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
    • 73 Metascore
    • 91 Eric Kohn
    With its persistent inventiveness and a lack of unearned sentimentality, the movie provides an antidote to a lot of lazily produced dramas about death, American or otherwise.
    • 64 Metascore
    • 91 Eric Kohn
    Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
    • 81 Metascore
    • 91 Eric Kohn
    Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
    • 81 Metascore
    • 91 Eric Kohn
    Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.
    • 80 Metascore
    • 91 Eric Kohn
    Portraying a generation so energized by possibilities that it was bound to be let down, Eden offers a wise assessment of the interplay between fantasy and reality on the path to adulthood. The seductive rhythms are a perfect match for a movie that analyzes the unstoppable flow of life.
    • 83 Metascore
    • 91 Eric Kohn
    '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
    • 68 Metascore
    • 91 Eric Kohn
    Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 90 Metascore
    • 91 Eric Kohn
    A remarkable refashioning of the Holocaust drama that reignites the setting with extraordinary immediacy, Son of Saul is both terrifying to watch and too gripping in its moment-to-moment to look away.
    • 58 Metascore
    • 91 Eric Kohn
    A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.
    • 66 Metascore
    • 91 Eric Kohn
    A less controlled and slapdash character piece than "In Bruge," McDonagh's new movie benefits greatly from a plethora of one-liners that toy with crime movie clichés in the unlikely context of writerly obsessions.
    • 58 Metascore
    • 91 Eric Kohn
    Hyams delivers a remarkably satisfying action-thriller hybrid that constantly pushes ahead. It's one of the best action movies of the year simply because it keeps hitting the right beats.
    • 90 Metascore
    • 91 Eric Kohn
    Her
    Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.
    • 86 Metascore
    • 91 Eric Kohn
    Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
    • 85 Metascore
    • 91 Eric Kohn
    More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
    • 86 Metascore
    • 91 Eric Kohn
    More traditional in terms of atmosphere and plot, Drug War nevertheless features a tense, unstoppable momentum, a morally ambiguous protagonist and hugely involving action scenes.
    • 81 Metascore
    • 91 Eric Kohn
    Incredibly heartfelt to a large degree because of its cast.
    • 68 Metascore
    • 91 Eric Kohn
    Striking a complex tone of tragedy and uplift at the same time, Kumiko, the Treasure Hunter both celebrates the escapist power of personal fantasies and bears witness to their dangerous extremes. It's the rare case of a story that's inspirational and devastating at once.
    • 94 Metascore
    • 91 Eric Kohn
    Although not exactly heartwarming, Amour has a more contained vision of human relationships than Haneke's previous films without sacrificing its bleak foundation. It's his most conventional movie about death -- and the most poignant.
    • 88 Metascore
    • 91 Eric Kohn
    While it has many familiar ingredients — from the atmosphere to the ensemble of Anderson regulars in nearly every role — in its allegiance to Anderson's vision, everything about The Grand Budapest Hotel is a welcome dose of originality.
    • 67 Metascore
    • 91 Eric Kohn
    It's incredibly uneventful and devastating all at once.
    • 78 Metascore
    • 91 Eric Kohn
    Gandolfini deserves an Oscar for Enough Said not because it's the culmination of everything that came before it but rather because it goes in a completely different direction. And his least characteristic achievement is also one of his best.
    • 74 Metascore
    • 91 Eric Kohn
    Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
    • 61 Metascore
    • 91 Eric Kohn
    Nobody else could fit the role of a crestfallen rocker that Paul Dano embodies in director So Yong Kim's remarkable For Ellen.
    • 82 Metascore
    • 91 Eric Kohn
    A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
    • 88 Metascore
    • 91 Eric Kohn
    Moment to moment, Birdman manages to shift gears, its roaming camera revealing new surprises as it glides along. That degree of unpredictability provides it with the ultimate response to the sea of formulaic mediocrities at the center of its critique.
    • 83 Metascore
    • 91 Eric Kohn
    On the whole, by ceding control to his subject, Hawke makes a persuasive case for Bernstein's guru-like outlook on the value of finding personal gratification in art above all else.
    • 92 Metascore
    • 91 Eric Kohn
    An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.

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