For 881 reviews, this critic has graded:
  • 75% higher than the average critic
  • 2% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 14.5 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Trollhunter
Lowest review score: 16 Wish Upon
Score distribution:
  1. Negative: 16 out of 881
881 movie reviews
    • 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.
    • 73 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.
    • 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.
    • 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.

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