For 585 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 17.4 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Boyhood
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 585
585 movie reviews
    • 82 Metascore
    • 91 Eric Kohn
    Nuri Bilge Ceylan's mesmerizing Once Upon a Time in Anatolia plays like "Zodiac" meets "Police, Adjective."
    • 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.
    • 80 Metascore
    • 91 Eric Kohn
    In each tense moment, Miss Bala has a lot to say in a few words.
    • 81 Metascore
    • 91 Eric Kohn
    Possibly the best war movie of the year.
    • 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.
    • 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.
    • 80 Metascore
    • 91 Eric Kohn
    I Wish embraces blissful ignorance, even celebrating its child characters' naivete.
    • 72 Metascore
    • 91 Eric Kohn
    Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
    • 55 Metascore
    • 91 Eric Kohn
    Extraterrestrial can be forgiven the tangents into melodrama due to Vigalondo's seamless ability to navigate those soapy waters.
    • 67 Metascore
    • 91 Eric Kohn
    Kazan has fun with a silly premise and smartly plays it straight when the occasion calls for it, while keeping the cutesy, fantastical extremes of the material at bay. It's less fairy tale than shrewd exaggeration on the pratfalls of desire.
    • 62 Metascore
    • 91 Eric Kohn
    For American audiences, each gag has added appeal because it contains an uneasy humor that's often explored but never fully exploited in these parts.
    • 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.
    • 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.
    • 81 Metascore
    • 91 Eric Kohn
    Incredibly heartfelt to a large degree because of its cast.
    • 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.
    • 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.
    • 84 Metascore
    • 91 Eric Kohn
    There's no doubting that Holy Motors is an ungodly mess of images and moments, some more alluring than others, but it sure leaves a mark.
    • 76 Metascore
    • 91 Eric Kohn
    Suspense is rarely delivered with such distinctive patience.
    • 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.
    • 63 Metascore
    • 91 Eric Kohn
    Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.
    • 79 Metascore
    • 91 Eric Kohn
    With an editing approach that seamlessly blends past and present, Central Park Five contains a fluid, engaging storytelling that does away with the dry voiceover commentary and theatrical music choices that typically account for the narrative flow of most Burns films.
    • 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.
    • 81 Metascore
    • 91 Eric Kohn
    Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.
    • 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.
    • 67 Metascore
    • 91 Eric Kohn
    It's incredibly uneventful and devastating all at once.
    • 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.
    • 63 Metascore
    • 91 Eric Kohn
    With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
    • 65 Metascore
    • 91 Eric Kohn
    This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
    • 82 Metascore
    • 91 Eric Kohn
    At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.
    • 69 Metascore
    • 91 Eric Kohn
    A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.

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