For 629 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 The Duke of Burgundy
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 629
629 movie reviews
    • 76 Metascore
    • 83 Eric Kohn
    While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
    • 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.
    • 77 Metascore
    • 83 Eric Kohn
    A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
    • 85 Metascore
    • 83 Eric Kohn
    Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.
    • tbd Metascore
    • 83 Eric Kohn
    Krisha snaps into focus whenever Shults' camera remains trained on his extraordinary lead, whose fierce commitment easily recalls a similar portrait of middle-aged alcoholism in "A Woman Under the Influence" — and, at under 90 minutes, matches its intensity in half the time.
    • 79 Metascore
    • 83 Eric Kohn
    Baring all and radiating an affability that defines the movie's tone, Hunt delivers her finest performance since "As Good As It Gets."
    • 84 Metascore
    • 83 Eric Kohn
    Even when that story drags, Moonrise Kingdom could be appreciated on mute.
    • 71 Metascore
    • 83 Eric Kohn
    Make no mistake: Mickle wants to make you jump and scream, but death only arrives in this movie once its world comes to life, which makes each sudden turn all the more intense.
    • 66 Metascore
    • 83 Eric Kohn
    An alternately wise, melancholic and good-humored look at people surrounded by support but nonetheless alienated by their incapacity to confront their problems.
    • 86 Metascore
    • 83 Eric Kohn
    For all the energy of Gerwig and Kirke's shared chemistry and the lively dialogue that compliments it, the story of Mistress America never keeps pace, ultimately sagging into formula to the detriment of the potential displayed by its compelling protagonists.
    • 77 Metascore
    • 83 Eric Kohn
    The extensive two-hour running time only slightly hinders a simultaneously amusing and powerful encapsulation of Brand's journey from outrageous provocateur to enlightened zealot preaching for social change.
    • 57 Metascore
    • 83 Eric Kohn
    Chapiron stubbornly avoids an uplifting message, portraying his dangerous setting as a demonstration of virility that leads to madness.
    • 67 Metascore
    • 83 Eric Kohn
    Leave it to Walken to upstage Beethoven.
    • 72 Metascore
    • 83 Eric Kohn
    At its core, The Double Hour is a classic noir story of deception.
    • 70 Metascore
    • 83 Eric Kohn
    Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
    • 57 Metascore
    • 83 Eric Kohn
    A surprisingly enjoyable tongue-in-cheek New York comedy from "Clueless" director Amy Heckerling, Vamps teeters on the brink of not quite working and yet still routinely lands its laughs.
    • 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.
    • 67 Metascore
    • 83 Eric Kohn
    The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.
    • 60 Metascore
    • 83 Eric Kohn
    The curious thing about C.O.G is that it doesn't play like a straightforward adaptation. Much of the mood comes from ingredients that have nothing to do with story or dialogue.
    • 66 Metascore
    • 83 Eric Kohn
    With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 83 Eric Kohn
    Macdonald's movie is a kind of fairy tale. While in the Marvel franchises, the good guys always win, The House I Live In explores the far more tangible process of simply remaining alive at all costs -- and finding, against impossible odds, justification for living through another day.
    • 66 Metascore
    • 83 Eric Kohn
    It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
    • 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.
    • 68 Metascore
    • 83 Eric Kohn
    Dancing around melodrama rather than confronting it head-on, Uncertain Terms hides its revelations in the textures of each scene. It places drama in the context of everyday life.
    • 81 Metascore
    • 83 Eric Kohn
    Inherent Vice constantly teases at a complex meta commentary on the other movies it brings to mind, but never totally gets there.
    • 66 Metascore
    • 83 Eric Kohn
    The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
    • 76 Metascore
    • 83 Eric Kohn
    You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
    • 72 Metascore
    • 83 Eric Kohn
    Creepy implications keep Super 8 engaging, but the cast makes it click.
    • 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.
    • 71 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.
    • 55 Metascore
    • 83 Eric Kohn
    Despite its ludicrous turns, the movie benefits from the far-fetched events for its sheer willingness to go there, not unlike Smith's goofy, self-deprecating public persona.
    • 40 Metascore
    • 83 Eric Kohn
    In its revelations of Salinger's flaws, the documentary capably strips away the fanaticism associated with his books to create the impression of a human being.
    • 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.
    • 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.
    • 78 Metascore
    • 83 Eric Kohn
    Blue Jasmine belongs to Blanchett, who appears in almost every scene and frees it from the limitations of Allen's style, pushing it to far sharper results than any of the more traditional movies, good and bad, that he's churned out in the past dozen or so years.
    • 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.
    • 56 Metascore
    • 83 Eric Kohn
    In Towheads, every comic bit is weighted with an awkward blend of sadness and irreverent humor.
    • 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.
    • 68 Metascore
    • 83 Eric Kohn
    Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
    • 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.
    • 86 Metascore
    • 83 Eric Kohn
    If nothing else, this memorable effort eloquently displays Hushpuppy's fragile understanding of her world, where the only certainty is that nothing lasts forever. That makes "Beasts" into a gigantic triumph even when it falls apart.
    • 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.
    • 82 Metascore
    • 83 Eric Kohn
    If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.
    • 49 Metascore
    • 83 Eric Kohn
    V/H/S 2 smartly contextualizes its nightmarish cavalcade of violence by acknowledging the luxury of enjoying it from a distance.
    • 83 Metascore
    • 83 Eric Kohn
    No matter its conceptual intentions, It Follows never ventures too far from visceral horror. Mitchell populates a number of scenes with well-timed jump scares as the being frequently bursts out of the shadows or appears in unexpected forms, while the score provides a screaming punctuation mark.
    • 64 Metascore
    • 83 Eric Kohn
    West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
    • 56 Metascore
    • 83 Eric Kohn
    Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
    • 79 Metascore
    • 83 Eric Kohn
    Sachs skillfully explores dangerous extremes -- not only drug addiction, but the slipperiness of attraction.
    • 76 Metascore
    • 83 Eric Kohn
    Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
    • 54 Metascore
    • 83 Eric Kohn
    Schroeder tracks the end of innocence in much the same way that the strip captured it each time out. Unlike "Salinger," he hardly makes a spectacle out of Watterson's secluded tendencies. The pileup of interview subjects speak eloquently on his behalf.
    • 83 Metascore
    • 83 Eric Kohn
    Maintains a funny and sad focus on its single petulant subject.
    • 49 Metascore
    • 83 Eric Kohn
    It's been so long since Lee made such a thoroughly amusing work that fans should have no problem excusing its messiness. But make no mistake... Oldboy is all over the place, sometimes playing like a subdued melodrama and elsewhere erupting into flamboyance and gore.
    • 58 Metascore
    • 83 Eric Kohn
    Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
    • 83 Metascore
    • 83 Eric Kohn
    Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
    • 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.
    • 79 Metascore
    • 83 Eric Kohn
    The filmmaker is ultimately better at constructing nuanced environments and troubled figures than making every piece of the equation gel as a whole. But that's a minor issue in the overall tapestry of Chandor's carefully designed world.
    • 75 Metascore
    • 83 Eric Kohn
    Edited in a frenzied mashup of concert fragments and off-stage exchanges, The Punk Singer generally overcomes its rough production values by realizing the energy of Hanna's achievements in terms of her passion and physical prowess.
    • 75 Metascore
    • 83 Eric Kohn
    No stranger to crafting excessive anticipation, Reichardt has funneled that skill into thriller clothing. However, like all of her output, nothing is as simple as it looks.
    • 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.
    • 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.
    • 58 Metascore
    • 83 Eric Kohn
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
    • 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.
    • 72 Metascore
    • 83 Eric Kohn
    Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
    • 76 Metascore
    • 83 Eric Kohn
    The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
    • 82 Metascore
    • 83 Eric Kohn
    Anchored by a funny and especially credible performance by newcomer Miles Teller, Ponsoldt's follow up to his alcoholism portrait "Smashed" has all the hallmarks of a bittersweet teen drama with flashes of realistic comedy on par with "Say Anything" and "The Breakfast Club."
    • 83 Metascore
    • 83 Eric Kohn
    Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
    • 78 Metascore
    • 83 Eric Kohn
    A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
    • 62 Metascore
    • 83 Eric Kohn
    While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
    • 52 Metascore
    • 83 Eric Kohn
    A bonafide family drama, proof that the noir has humanistic roots. It left me feeling thankful for persistent movie traditions.
    • 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.
    • 74 Metascore
    • 83 Eric Kohn
    As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
    • 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.
    • 73 Metascore
    • 83 Eric Kohn
    While its main characters are tough-minded, Rust and Bone is itself pure heart.
    • 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.
    • 76 Metascore
    • 83 Eric Kohn
    While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
    • 75 Metascore
    • 83 Eric Kohn
    For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
    • 67 Metascore
    • 83 Eric Kohn
    Robot and Frank succeeds where "Ted" fails because, unlike McFarlane, Schreier and Ford render the relationship between the human character and the robot in largely credible terms.
    • 73 Metascore
    • 83 Eric Kohn
    Gibney's narrative drags to some extent when the focus widens to explore the Vatican's overall policy for covering up sex scandals, but he successfully demonstrates the systematic failure of a system designed work flawlessly on the basis of spirituality that never existed in the first place.
    • 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.
    • 76 Metascore
    • 83 Eric Kohn
    Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.
    • 77 Metascore
    • 83 Eric Kohn
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
    • 83 Metascore
    • 83 Eric Kohn
    The grim subtext of The Wind Rises goes largely unacknowledged, leading to a gaping hole in this otherwise beautifully realized narrative that celebrates the power of curiosity as a motivating force.
    • 43 Metascore
    • 83 Eric Kohn
    Dealin' With Idiots is powered by a cast of terrific character actors.
    • 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.
    • 74 Metascore
    • 83 Eric Kohn
    Burton's id explodes onto the screen with a plethora of demonic mutated critters.
    • 67 Metascore
    • 83 Eric Kohn
    Felix and Meira can only speak in vagaries about their feelings. At times they come across like underwritten archetypes, but the superficial aspects of their scenario are elevated by a pair of deeply empathetic performances. Giroux excels at implying his characters' internal processes.
    • 66 Metascore
    • 83 Eric Kohn
    Decker's narrative work practically celebrates a willingness to follow outright silly pathways in order to arrive at unsettling results.
    • 82 Metascore
    • 83 Eric Kohn
    Big Words at times seems like it's heading towards a microbudget version of "Hustle and Flow," but Drumming aims for a much smarter and subdued look at the various regrets and hang-ups haunting men of a certain age. Their blackness is only one piece of the puzzle.
    • 80 Metascore
    • 83 Eric Kohn
    Berberian Sound Studio constructs a perpetually strange, unseemly series of events overshadowed (and sometimes consumed by) the spooky movie-within-a-movie that hangs over every scene.
    • 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.
    • 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.
    • 67 Metascore
    • 83 Eric Kohn
    While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
    • 65 Metascore
    • 83 Eric Kohn
    Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
    • 80 Metascore
    • 83 Eric Kohn
    Slickly made if not particularly stylish, the movie maintains its entertainment value for picking ideal models of American excess.
    • 55 Metascore
    • 83 Eric Kohn
    Gavras never forces the material into allegorical turf; it's a relatively straightforward look at the ramifications of getting blinded by dollar signs, with perhaps one of the most clearly defined visions of economic depravity since "Wall Street."
    • 66 Metascore
    • 83 Eric Kohn
    Douglas Miller's Dinosaur 13 is both awe-inspiring and tragic. Conventionally made but featuring an undeniably compelling story at its core, Miller’s debut benefits greatly from the combination of passion and sadness embedded in its subjects’ tale.
    • 73 Metascore
    • 83 Eric Kohn
    Appropriate Behavior isn’t a narrative about ethnicity or even LGBT struggles in the traditional sense, but rather a means of exploring the problems that result from reinforcing those very barriers. In the process, it introduces a thoroughly modern voice.

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