For 547 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 Uncle Boonmee Who Can Recall His Past Lives
Lowest review score: 25 Bel Ami
Score distribution:
  1. Negative: 9 out of 547
547 movie reviews
    • 71 Metascore
    • 83 Eric Kohn
    Sleepwalk With Me calls to mind Judd Apatow's "Funny People" for its focus on the eccentric, obsessive nature of the wannabe comic's mind.
    • 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.
    • 70 Metascore
    • 83 Eric Kohn
    While visually scrumptious, the movie struggles to reach a greater profundity that it never quite obtains, but its childlike emulation of a grand tragedy is indelibly precious.
    • 82 Metascore
    • 83 Eric Kohn
    Produced by Keanu Reeves, this talking heads survey of the transition from shooting on film to digital video is against all odds an imminently watchable overview, and not only because Reeves has decent interview skills.
    • 71 Metascore
    • 83 Eric Kohn
    A gigantic physique hides the fragile man beneath and Matthiesen ably follows the journey of that persona as it tunnels through mounds of muscle to reach the surface. In essence, the lion finds his courage.
    • 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.
    • 79 Metascore
    • 83 Eric Kohn
    Sachs skillfully explores dangerous extremes -- not only drug addiction, but the slipperiness of attraction.
    • 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.
    • 74 Metascore
    • 83 Eric Kohn
    Burton's id explodes onto the screen with a plethora of demonic mutated critters.
    • 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.
    • 77 Metascore
    • 83 Eric Kohn
    A personal work not because the director chooses to make himself a part of the story, but rather because he implicates all of us in it.
    • 76 Metascore
    • 83 Eric Kohn
    Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
    • 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."
    • 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.
    • 67 Metascore
    • 83 Eric Kohn
    Leave it to Walken to upstage Beethoven.
    • 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.
    • 74 Metascore
    • 83 Eric Kohn
    The story retains an inscrutable tone that sometimes makes its emotional qualities feel remote, but it still delivers a powerful message about the challenge of self-diagnosis by rooting it in universal experience
    • 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
    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.
    • 73 Metascore
    • 83 Eric Kohn
    While its main characters are tough-minded, Rust and Bone is itself pure heart.
    • 78 Metascore
    • 83 Eric Kohn
    Beware of Mister Baker won the Grand Jury Prize at the SXSW Film Festival earlier this year, perhaps because it was the best embodiment of a recent trend in the non-fiction realm.
    • 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.
    • 64 Metascore
    • 83 Eric Kohn
    The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.
    • 67 Metascore
    • 83 Eric Kohn
    By making the inanimate animate, they make nature come to life, and so does Convento.
    • 58 Metascore
    • 83 Eric Kohn
    More blatantly an exercise in style than anything on par with the director's crowning achievements, and suffers to some degree from the predictability of its premise.
    • 75 Metascore
    • 83 Eric Kohn
    The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
    • 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.
    • 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.
    • 57 Metascore
    • 83 Eric Kohn
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
    • 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.
    • 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.
    • 81 Metascore
    • 83 Eric Kohn
    A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.
    • 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.
    • 57 Metascore
    • 83 Eric Kohn
    Chapiron stubbornly avoids an uplifting message, portraying his dangerous setting as a demonstration of virility that leads to madness.
    • 61 Metascore
    • 83 Eric Kohn
    Boyle's filmmaking style has a marvelous rhythm that weaves pop sensibilities into fluid and persistently exciting narrative experiences; he shakes these ingredients like colored sand in a jar, leading a fascinating degree of discombobulation.
    • 58 Metascore
    • 83 Eric Kohn
    In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
    • 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.
    • 69 Metascore
    • 83 Eric Kohn
    He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
    • 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
    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.
    • 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.
    • 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.
    • 76 Metascore
    • 83 Eric Kohn
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
    • 63 Metascore
    • 83 Eric Kohn
    At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.
    • 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.
    • 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.
    • 77 Metascore
    • 83 Eric Kohn
    A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 83 Eric Kohn
    Dealin' With Idiots is powered by a cast of terrific character actors.
    • 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."
    • 70 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.
    • 74 Metascore
    • 83 Eric Kohn
    Before all else, Villneuve's grim chronicle of the fallout when two young girls vanish in a small town succeeds at crafting one powerfully suspenseful moment after another.
    • 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.
    • 52 Metascore
    • 83 Eric Kohn
    There's a certain elegant simplicity to the movie's execution that maintains a spirit of familiarity but also keeps the material afloat.
    • 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.
    • 73 Metascore
    • 83 Eric Kohn
    Joe
    If Joe marks a new beginning for some of its characters, the same description applies to its director and star.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 83 Eric Kohn
    The suspense comes and goes, but A Single Shot always maintains a firm grip on its sad, deteriorating environment.
    • 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.
    • 61 Metascore
    • 83 Eric Kohn
    With "Gravity" around the corner, Metallica Through the Never isn't the year's most groundbreaking achievement, but it's surely the most earth-shattering, and that's enough to make it one helluva comeback story.
    • 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."
    • 76 Metascore
    • 83 Eric Kohn
    Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
    • 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.
    • 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.
    • 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.
    • 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.
    • 90 Metascore
    • 83 Eric Kohn
    Story comes second to Russell over the rhythms of well-timed bickering, which is a blessing and a curse in American Hustle.
    • 78 Metascore
    • 83 Eric Kohn
    The Last of the Unjust rewards those willing to invest in Lanzmann's pensive technique with a complex tale that's alternately sad, enlightening, unexpectedly witty and ultimately exhausting, but carried along throughout by Lanzmann's commitment.
    • 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.
    • 56 Metascore
    • 83 Eric Kohn
    In Towheads, every comic bit is weighted with an awkward blend of sadness and irreverent humor.
    • 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.
    • 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.
    • 75 Metascore
    • 83 Eric Kohn
    There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.
    • 64 Metascore
    • 83 Eric Kohn
    Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.
    • 81 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.
    • 81 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.
    • 71 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?
    • 70 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.
    • 75 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.
    • 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.
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 74 Metascore
    • 83 Eric Kohn
    A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
    • 64 Metascore
    • 75 Eric Kohn
    Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
    • 58 Metascore
    • 75 Eric Kohn
    Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
    • 52 Metascore
    • 75 Eric Kohn
    Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
    • 70 Metascore
    • 75 Eric Kohn
    In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
    • 49 Metascore
    • 75 Eric Kohn
    Like Stephen Walker's delicate nonfiction portrait "Young@Heart," it's a genuine heart-tugger about senior citizens rediscovering their youth by singing pop music; like Craig Brewer's crowdpleasing "Hustle & Flow," it sympathizes with a struggling rap artist without glossing over his flaws.
    • 61 Metascore
    • 75 Eric Kohn
    Brody's engagement with the material prevents Wrecked from falling apart.
    • 60 Metascore
    • 75 Eric Kohn
    With tightly controlled performances and uniquely eccentric events, The Beaver is mainly undone by the lack of a satisfying outcome.
    • 69 Metascore
    • 75 Eric Kohn
    Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
    • 62 Metascore
    • 75 Eric Kohn
    Despite routinely overstating the scenario with rampant scenes of tantrums and sobs, the majority of Beautiful Boy is made bearable by its two solid performances.
    • 70 Metascore
    • 75 Eric Kohn
    Subtitled "a musical adventure," the actor-director's love letter to some 800 years of Neapolitan expression probes its subject with a wide romantic outlook.
    • 63 Metascore
    • 75 Eric Kohn
    A slow burn thriller taken to the extreme, Cristi Puiu's Aurora continues the Romanian writer-director's obsession with time as his main narrative device.
    • 66 Metascore
    • 75 Eric Kohn
    The result is an uneven drama with genuine intellectual heft that often outshines its flaws.
    • 72 Metascore
    • 75 Eric Kohn
    Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
    • 78 Metascore
    • 75 Eric Kohn
    Only Boyle's unstoppable tendency to mouth off sustains the routine plot, but McDonagh pushes the limits of what he can make Gleeson say without making the crude nature of his asides overwhelm their comic potential.