For 570 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 Stories We Tell
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 570
570 movie reviews
    • 80 Metascore
    • 91 Eric Kohn
    In each tense moment, Miss Bala has a lot to say in a few words.
    • 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.
    • 92 Metascore
    • 91 Eric Kohn
    An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.
    • 71 Metascore
    • 91 Eric Kohn
    The measured vérité style of Frederick Wiseman meets the visual polish of Terrence Malick in Dragonslayer, a fascinating slice of crude Americana from first-time director Tristan Patterson. However, it stands alone with an infectious hard rock attitude.
    • 70 Metascore
    • 91 Eric Kohn
    Rampart is co-written by crime writer James Ellroy as a messy, disorienting noir, and shot by cinematographer Bobby Bukowski with an unsettling degree of realism.
    • 81 Metascore
    • 91 Eric Kohn
    Incredibly heartfelt to a large degree because of its cast.
    • 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.
    • 81 Metascore
    • 91 Eric Kohn
    Possibly the best war movie of the year.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 91 Eric Kohn
    I Wish embraces blissful ignorance, even celebrating its child characters' naivete.
    • 55 Metascore
    • 91 Eric Kohn
    Extraterrestrial can be forgiven the tangents into melodrama due to Vigalondo's seamless ability to navigate those soapy waters.
    • 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.
    • 87 Metascore
    • 91 Eric Kohn
    The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
    • 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.
    • 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.
    • 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.
    • 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.
    • 61 Metascore
    • 91 Eric Kohn
    In "Adventureland" and this summer's "The Way Way Back," disillusioned teens have worked through their issues in the weeks leading up to college by taking on quirky summer jobs. However, Carey's wacky sensibilities retain a notably fresh quality by using the same framing device as an excuse to bat around one funny idea after another. The story transcends the derivative scenario through a noticeable lack of verbal censorship.
    • 68 Metascore
    • 91 Eric Kohn
    That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.