For 500 reviews, this critic has graded:
  • 78% higher than the average critic
  • 3% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 17.7 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
Average review score: 77
Highest review score: 100 Bombay Beach
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 9 out of 500
500 movie reviews
    • 84 Metascore
    • 83 Eric Kohn
    Even when that story drags, Moonrise Kingdom could be appreciated on mute.
    • 72 Metascore
    • 83 Eric Kohn
    Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.
    • 72 Metascore
    • 83 Eric Kohn
    Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
    • 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.
    • 72 Metascore
    • 83 Eric Kohn
    At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
    • 76 Metascore
    • 83 Eric Kohn
    Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
    • 82 Metascore
    • 83 Eric Kohn
    The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
    • 76 Metascore
    • 83 Eric Kohn
    Buck Brannaman, the subject of Cindy Meehl's engaging documentary profile Buck, has a warm presence and knows how to tame horses better than anyone else.
    • 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.
    • 74 Metascore
    • 83 Eric Kohn
    The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
    • 75 Metascore
    • 83 Eric Kohn
    Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
    • 89 Metascore
    • 83 Eric Kohn
    The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.
    • 71 Metascore
    • 83 Eric Kohn
    Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
    • 56 Metascore
    • 83 Eric Kohn
    The most impressive thing about In the Land of Blood and Honey is that Jolie makes you feel it.
    • 72 Metascore
    • 83 Eric Kohn
    Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
    • 73 Metascore
    • 83 Eric Kohn
    With its subject still behind bars and the Russian government on the brink of reelecting Kremlin's United Russia party, the biggest triumph of Khodorkovsky is the case it makes for a sequel.
    • 55 Metascore
    • 83 Eric Kohn
    Santana was cast prior to making her gender transition and had never acted before. Her personal experience brings such legitimacy that she would probably succeed in the role even if she sucked at line reading. Fortunately, she doesn't.
    • 61 Metascore
    • 83 Eric Kohn
    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
    • 71 Metascore
    • 83 Eric Kohn
    For everything that Mozart's Sister imagines, it leaves much more up to imagination.
    • 64 Metascore
    • 83 Eric Kohn
    Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
    • 71 Metascore
    • 83 Eric Kohn
    Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
    • 73 Metascore
    • 83 Eric Kohn
    The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
    • 63 Metascore
    • 83 Eric Kohn
    Wright's extraordinary long takes draw you into the universe of Anna Karenina with a seamless approach that a straightforward literary adaptation could never accomplish.
    • 47 Metascore
    • 83 Eric Kohn
    Catechism sometimes feels intentionally obscure, much like Rohal's last movie. It's essentially a hilariously brazen lark, which is reason enough to embrace it.
    • 86 Metascore
    • 83 Eric Kohn
    Equally a slick political thriller, intelligent period piece and sly Hollywood satire, Ben Affleck's Argo maintains a careful balance between commentary and entertainment value.
    • 28 Metascore
    • 83 Eric Kohn
    The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.
    • 83 Metascore
    • 83 Eric Kohn
    Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
    • 72 Metascore
    • 83 Eric Kohn
    Magic Mike casts a seriously entertaining spell.
    • 60 Metascore
    • 83 Eric Kohn
    While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
    • 64 Metascore
    • 83 Eric Kohn
    West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.