For 763 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 16.2 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 The Look of Silence
Lowest review score: 25 The Sea of Trees
Score distribution:
  1. Negative: 12 out of 763
763 movie reviews
    • 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.
    • 87 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.
    • 67 Metascore
    • 83 Eric Kohn
    This is a measured, richly ambiguous work about the subjective process of grief — masquerading as a ghost story — that experiments with the minutiae of film language as only a master of the medium can do.
    • 70 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.
    • 75 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.
    • 63 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.
    • 75 Metascore
    • 83 Eric Kohn
    Compelling in a larger sense even when lingers it on its goofier ingredients (the scenes where the pair stage the moon landing drag a bit), Operation Avalanche generally manages to make its outrageous premise stick.
    • 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.
    • 82 Metascore
    • 83 Eric Kohn
    Grounded in lively performances by Chris Pine and Ben Foster as a pair of bank-robbing brothers, with a capable assist from a no-nonsense Jeff Bridges as the sheriff on their tail, Hell or High Water tries nothing new but delivers a fun ride.
    • 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.
    • 85 Metascore
    • 83 Eric Kohn
    Though Braga's performance sometimes outshines Mendonça's leisurely two-and-a-half hour narrative, in its better moments the two work in marvelous harmony.
    • 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.
    • 64 Metascore
    • 83 Eric Kohn
    Five years after his rambling "Capitalism: A Love Story," the filmmaker bounces back from one of his worst films with one of his best — a surprisingly endearing set of suggestions for a better tomorrow.

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