For 649 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 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 Lovelace
Score distribution:
  1. Negative: 10 out of 649
649 movie reviews
    • 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.
    • 61 Metascore
    • 91 Eric Kohn
    In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
    • 85 Metascore
    • 91 Eric Kohn
    Tales from the Grim Sleeper concludes by offering up the haunting possibility that even if the killer has been caught, the systemic failures that let him get away with it for so long remain firmly in place.
    • 76 Metascore
    • 91 Eric Kohn
    The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
    • 81 Metascore
    • 91 Eric Kohn
    Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
    • 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.
    • 95 Metascore
    • 91 Eric Kohn
    Ever as it casts their future prospects in doubt, Virunga concludes by envying the apes’ perspective most of all.
    • 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.
    • 90 Metascore
    • 91 Eric Kohn
    The Witch becomes a focused portrait of fixed rituals crumbling in the face of inexplicable forces, evoking the fear of change lurking in the shadows at every moment. Despite the setting, its scares are uniquely contemporary.
    • 67 Metascore
    • 91 Eric Kohn
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
    • 60 Metascore
    • 91 Eric Kohn
    The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
    • 85 Metascore
    • 91 Eric Kohn
    The tense, involving result confirms Sciamma's mastery over the coming-of-age drama, a genre too often reduced to its simplest ingredients.
    • 63 Metascore
    • 91 Eric Kohn
    The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
    • 87 Metascore
    • 91 Eric Kohn
    Despite the unruly music at its center, the filmmaker has crafted a uniformly gentle ode to growing up.
    • 84 Metascore
    • 91 Eric Kohn
    With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
    • 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.
    • 64 Metascore
    • 91 Eric Kohn
    Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
    • 81 Metascore
    • 91 Eric Kohn
    Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
    • 81 Metascore
    • 91 Eric Kohn
    Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.
    • 94 Metascore
    • 91 Eric Kohn
    Pull back from the moment-to-moment thrill of Inside Out and it gets very deep: The scenario implicitly questions standard definitions of free will by suggesting that we're all slaves to ghosts in the machine.
    • 82 Metascore
    • 91 Eric Kohn
    Portraying a generation so energized by possibilities that it was bound to be let down, Eden offers a wise assessment of the interplay between fantasy and reality on the path to adulthood. The seductive rhythms are a perfect match for a movie that analyzes the unstoppable flow of life.
    • 83 Metascore
    • 91 Eric Kohn
    '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
    • 68 Metascore
    • 91 Eric Kohn
    Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 90 Metascore
    • 91 Eric Kohn
    A remarkable refashioning of the Holocaust drama that reignites the setting with extraordinary immediacy, Son of Saul is both terrifying to watch and too gripping in its moment-to-moment to look away.
    • 58 Metascore
    • 91 Eric Kohn
    A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.
    • 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.
    • 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.
    • 90 Metascore
    • 91 Eric Kohn
    Her
    Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.
    • 86 Metascore
    • 91 Eric Kohn
    Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
    • 85 Metascore
    • 91 Eric Kohn
    More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.

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