For 646 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 17.1 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 The Tiniest Place
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 10 out of 646
646 movie reviews
    • 68 Metascore
    • 91 Eric Kohn
    The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
    • 88 Metascore
    • 91 Eric Kohn
    Kechiche excels at capturing his protagonist's emergence in the world.
    • 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.
    • 78 Metascore
    • 91 Eric Kohn
    From one mesmerizing scene to the next, The Tribe never loses its flow. Even its harshest moments are defined by vibrant motion.
    • 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.
    • 81 Metascore
    • 91 Eric Kohn
    Possibly the best war movie of the year.
    • 74 Metascore
    • 91 Eric Kohn
    Cheatin' is gleefully enjoyable and loaded with unexpected twists at every turn.
    • 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.
    • 89 Metascore
    • 91 Eric Kohn
    Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever-changing stability of job security among the lower class.
    • 80 Metascore
    • 91 Eric Kohn
    Frammartino keeps the material engaging simply by aiming the camera at his subjects and letting the material organically emerge-rather than enforcing the supernatural element with overstatement.
    • 90 Metascore
    • 91 Eric Kohn
    Aferim! amounts to a serious endeavor designed to explore many facets of its era through the lens of people trapped in it. Their crude dialogue, real as it may be, hints at comedic possibilities while offering a shrewd look at people defined by their circumstances.
    • 86 Metascore
    • 91 Eric Kohn
    What Now? Remind Me sketches out the tragedy of living a full life and being aware of it slipping away.
    • 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.
    • 65 Metascore
    • 91 Eric Kohn
    In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
    • 93 Metascore
    • 91 Eric Kohn
    Hoss' portrayal of a woman at odds with her surroundings is in a class by itself.
    • 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.
    • 76 Metascore
    • 91 Eric Kohn
    In the movie's final shot, Jung's confidence crumbles and he looks supremely troubled, still uncertain of a world he once believed could be explained with textual prowess. Better than any analysis, his expression sums up the dangerous method at the heart of every Cronenberg movie.
    • 76 Metascore
    • 91 Eric Kohn
    Suspense is rarely delivered with such distinctive patience.
    • 87 Metascore
    • 91 Eric Kohn
    The visual collage retains a consistent melancholy, resulting in an experience that's both deeply affecting and-since José never actually appears on-camera-utterly detached.
    • 55 Metascore
    • 91 Eric Kohn
    Extraterrestrial can be forgiven the tangents into melodrama due to Vigalondo's seamless ability to navigate those soapy waters.
    • 78 Metascore
    • 91 Eric Kohn
    The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
    • 68 Metascore
    • 91 Eric Kohn
    Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
    • 81 Metascore
    • 91 Eric Kohn
    Though anchored by a affecting and sullen turn by Channing Tatum, the movie derives its primary discomfiting power from Steve Carell in a revelatory performance as a monster of American wealth.
    • 72 Metascore
    • 91 Eric Kohn
    Kim's movies are generally grim, disturbing affairs, but "Pieta" leaves much to the imagination in favor of its unsettling implications.
    • 70 Metascore
    • 91 Eric Kohn
    The Safdies have stood out over the last few years for continually challenging audience expectations even while seeming to adhere to conventional storytelling traditions, and that's certainly true here: You've never seen a sports movie like this before.
    • 82 Metascore
    • 91 Eric Kohn
    Nuri Bilge Ceylan's mesmerizing Once Upon a Time in Anatolia plays like "Zodiac" meets "Police, Adjective."
    • 73 Metascore
    • 91 Eric Kohn
    There and gone with the fleeting nature of its youngest character's attention span, Little Feet ultimately feels more like an insightful sketch than a full-fledged movie, but it nonetheless leaves a major impression.
    • 63 Metascore
    • 91 Eric Kohn
    Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
    • 69 Metascore
    • 91 Eric Kohn
    White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
    • 83 Metascore
    • 91 Eric Kohn
    Xavier Dolan's I Killed My Mother marks the emergence of an exciting new filmmaking talent. The Montreal actor, a mere 20 years old, displays a startlingly mature perspective on human behavior in his triple threat position as writer-director-star.

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