For 578 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 A Separation
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 578
578 movie reviews
    • 72 Metascore
    • 91 Eric Kohn
    Kim's movies are generally grim, disturbing affairs, but "Pieta" leaves much to the imagination in favor of its unsettling implications.
    • 71 Metascore
    • 91 Eric Kohn
    While not designed to entertain on the level of style and spectacle that one expects from a Bond film, this tense period drama from the director of "Man on Wire" presents a far more credible take on the daring exploits of British agents.
    • 74 Metascore
    • 91 Eric Kohn
    Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
    • 71 Metascore
    • 91 Eric Kohn
    Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
    • 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.
    • 77 Metascore
    • 91 Eric Kohn
    If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.
    • 85 Metascore
    • 91 Eric Kohn
    Farhadi's new movie confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication.
    • 88 Metascore
    • 91 Eric Kohn
    Kechiche excels at capturing his protagonist's emergence in the world.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 91 Eric Kohn
    You couldn't ask for a more appropriate genre of music to carry a movie. As Didier explains the bluegrass appeal, "the banjo sort of snarls," bringing a primal form of energy that even he can't put into words. It's also the element that manages to rescue "Broken Circle" from the meandering nature of its structural looseness, which sometimes distracts from a thoroughly involving story.
    • 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.
    • 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.
    • 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.
    • 82 Metascore
    • 91 Eric Kohn
    Though anchored by a affecting and sullen turn by Channing Tatum, the movie derives its primary discomfiting power from Steve Carell in a revelatory performance as a monster of American wealth.
    • 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.
    • 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.
    • 68 Metascore
    • 91 Eric Kohn
    The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
    • 87 Metascore
    • 91 Eric Kohn
    Despite the unruly music at its center, the filmmaker has crafted a uniformly gentle ode to growing up.
    • 63 Metascore
    • 91 Eric Kohn
    Directors Katie Graham and Andrew Matthews' directorial debut (from Matthews' screenplay) centers on a highly unlikable character who has alienated himself from social responsibility -- and forces you to sympathize with him against all odds.
    • 65 Metascore
    • 91 Eric Kohn
    In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
    • 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.
    • 76 Metascore
    • 91 Eric Kohn
    Is the Man Who Is Tall Happy? bears the stamp of Gondry quirk but allows it to feel a lot more intimate than anything he's done since "Eternal Sunshine."
    • 70 Metascore
    • 91 Eric Kohn
    The Safdies have stood out over the last few years for continually challenging audience expectations even while seeming to adhere to conventional storytelling traditions, and that's certainly true here: You've never seen a sports movie like this before.
    • 69 Metascore
    • 91 Eric Kohn
    White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
    • 90 Metascore
    • 91 Eric Kohn
    It portrays the struggle from the inside, from about as far from the filter of mainstream media as one can get, capturing tense shootouts and the extremes of revolutionary spirit in unnerving detail.
    • 89 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.
    • 78 Metascore
    • 91 Eric Kohn
    The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
    • 92 Metascore
    • 91 Eric Kohn
    Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever-changing stability of job security among the lower class.
    • 97 Metascore
    • 91 Eric Kohn
    Mr. Turner is a first-rate match of director and subject. Less an explication of the man's genius than an immersion into its essence.
    • 75 Metascore
    • 91 Eric Kohn
    Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
    • 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.
    • 79 Metascore
    • 91 Eric Kohn
    Simmien both mocks and provokes the nature of our seemingly progressive times by illuminating misguided assumptions and fears embedded in forward-thinking discourse. But Simien's relentless screenplay is never too self-serious or didactic, instead pairing culturally-savvy brains with a goofy grin.
    • 83 Metascore
    • 91 Eric Kohn
    Love Is Strange is a sophisticated take on contemporary urbanity infused with romantic ideals and the tragedy of their dissolution.
    • 87 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.
    • 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.
    • 68 Metascore
    • 91 Eric Kohn
    Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 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.
    • 81 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.
    • 81 Metascore
    • 91 Eric Kohn
    The contrast between the movie’s traditional execution and Stritch’s domineering powers create the lingering sense that she may be the project’s true auteur.
    • 80 Metascore
    • 91 Eric Kohn
    With the shift from conventional rock doc into something more sophisticated, As the Palaces Burn remains enthralling all the way through.
    • 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.
    • 83 Metascore
    • 91 Eric Kohn
    While it doesn't always earn its heft, Winter Sleep is both subdued and rich in details, its plot growing slowly over a series of extensive conversations. It's a robust, challenging experience he's been building toward with his previous features, as well as an adventurous step above them.
    • 99 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.
    • 72 Metascore
    • 91 Eric Kohn
    Exhibition infuses its cerebral exposition with a strong dose of humanity.
    • 81 Metascore
    • 91 Eric Kohn
    In the struggle to tell a story, Panahi reveals the redemptive power of art. No longer issuing desperate pleas, he has turned to cinema for the sake of survival.
    • 98 Metascore
    • 91 Eric Kohn
    From one mesmerizing scene to the next, The Tribe never loses its flow. Even its harshest moments are defined by vibrant motion.
    • 86 Metascore
    • 91 Eric Kohn
    What Now? Remind Me sketches out the tragedy of living a full life and being aware of it slipping away.
    • 62 Metascore
    • 91 Eric Kohn
    Even as The Keeping Room plays with formulaic ingredients, it manages to combine them into an eloquent portrait of gender, race and the constant march of time without overstating any of its potent themes.
    • 93 Metascore
    • 91 Eric Kohn
    Hoss' portrayal of a woman at odds with her surroundings is in a class by itself.
    • 76 Metascore
    • 91 Eric Kohn
    The poetic rhythm with which Hartley brings three movies of events to an end is a tight, gripping expression of closure.
    • 88 Metascore
    • 91 Eric Kohn
    Poitras, an expert filmmaker as keyed into pace and mood as the topic they support, delivers a mesmerizing look at both how Snowden managed to release his information as well as why it all matters.
    • 68 Metascore
    • 83 Eric Kohn
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
    • 65 Metascore
    • 83 Eric Kohn
    The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
    • 67 Metascore
    • 83 Eric Kohn
    Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
    • 58 Metascore
    • 83 Eric Kohn
    Transitioning back into a scripted dynamic after his quasi-documentary performance excursions with "Bruno" and "Borat," Baron Cohen loses none of his edge, combining slapstick inspiration and social commentary into a hilariously provocative blend.
    • 70 Metascore
    • 83 Eric Kohn
    Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
    • 72 Metascore
    • 83 Eric Kohn
    Creepy implications keep Super 8 engaging, but the cast makes it click.
    • 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.
    • 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.
    • 78 Metascore
    • 83 Eric Kohn
    Combing a memorably gritty Ryan Gosling performance with the breakneck tempo of the getaway cars his character handles for hire, Refn churns out a hyperactive love letter to road rage with unapologetic glee. It's a total blast.
    • 55 Metascore
    • 83 Eric Kohn
    Loaded to the gills with thrill-inducing mayhem, Hobo with a Shotgun feels almost tribal in its commitment to violence.
    • 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.
    • 67 Metascore
    • 83 Eric Kohn
    As the portrait of a relationship meltdown involving two eccentric creative types prone to self-doubt, July's sophomore feature bears a strong resemblance to husband Mike Mills's upcoming "Beginners," although July's version of the story has a more experimental edge.
    • 72 Metascore
    • 83 Eric Kohn
    Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.
    • 76 Metascore
    • 83 Eric Kohn
    Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.
    • 79 Metascore
    • 83 Eric Kohn
    In its finer moments, however, Lee translates the book's wondrous prose into grand visual conceits meant for the big screen. Posited as a story that "will make you believe in god," instead it has the power to confirm one's faith in the cinematic experience.
    • 67 Metascore
    • 83 Eric Kohn
    Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
    • 71 Metascore
    • 83 Eric Kohn
    Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.
    • 72 Metascore
    • 83 Eric Kohn
    At its core, The Double Hour is a classic noir story of deception.
    • 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.
    • 58 Metascore
    • 83 Eric Kohn
    Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
    • 65 Metascore
    • 83 Eric Kohn
    Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
    • 84 Metascore
    • 83 Eric Kohn
    Even when that story drags, Moonrise Kingdom could be appreciated on mute.
    • 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.
    • 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.
    • 83 Metascore
    • 83 Eric Kohn
    The movie works best when probing the nature of human interactions with Nim: He appears to form a close friendship with the stoner psych major Bob Ingersoll, not only foraging for food with him but also sharing joints.
    • 72 Metascore
    • 83 Eric Kohn
    At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
    • 76 Metascore
    • 83 Eric Kohn
    Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
    • 82 Metascore
    • 83 Eric Kohn
    The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
    • 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.
    • 71 Metascore
    • 83 Eric Kohn
    In Sundance terms, Like Crazy qualifies as this year's "Blue Valentine," but it's more observational about the details of a doomed relationship than relentlessly bleak like the aforementioned Derek Cianfrance movie.
    • 74 Metascore
    • 83 Eric Kohn
    The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
    • 75 Metascore
    • 83 Eric Kohn
    Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
    • 89 Metascore
    • 83 Eric Kohn
    The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.
    • 71 Metascore
    • 83 Eric Kohn
    Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
    • 56 Metascore
    • 83 Eric Kohn
    The most impressive thing about In the Land of Blood and Honey is that Jolie makes you feel it.
    • 72 Metascore
    • 83 Eric Kohn
    Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
    • 73 Metascore
    • 83 Eric Kohn
    With its subject still behind bars and the Russian government on the brink of reelecting Kremlin's United Russia party, the biggest triumph of Khodorkovsky is the case it makes for a sequel.
    • 55 Metascore
    • 83 Eric Kohn
    Santana was cast prior to making her gender transition and had never acted before. Her personal experience brings such legitimacy that she would probably succeed in the role even if she sucked at line reading. Fortunately, she doesn't.
    • 61 Metascore
    • 83 Eric Kohn
    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
    • 71 Metascore
    • 83 Eric Kohn
    For everything that Mozart's Sister imagines, it leaves much more up to imagination.
    • 64 Metascore
    • 83 Eric Kohn
    Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
    • 71 Metascore
    • 83 Eric Kohn
    Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
    • 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."
    • 63 Metascore
    • 83 Eric Kohn
    Wright's extraordinary long takes draw you into the universe of Anna Karenina with a seamless approach that a straightforward literary adaptation could never accomplish.
    • 47 Metascore
    • 83 Eric Kohn
    Catechism sometimes feels intentionally obscure, much like Rohal's last movie. It's essentially a hilariously brazen lark, which is reason enough to embrace it.
    • 86 Metascore
    • 83 Eric Kohn
    Equally a slick political thriller, intelligent period piece and sly Hollywood satire, Ben Affleck's Argo maintains a careful balance between commentary and entertainment value.
    • 28 Metascore
    • 83 Eric Kohn
    The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.

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