For 565 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 17.3 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Manuscripts Don't Burn
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 565
565 movie reviews
    • 100 Metascore
    • 100 Eric Kohn
    Epic in scope yet unassuming throughout, Linklater's incredibly involving chronicle marks an unprecedented achievement in fictional storytelling.
    • 99 Metascore
    • 100 Eric Kohn
    Rather than building towards the finality of a single climax, Leviathan injects several of them into the tapestry of its elegant design.
    • 98 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.
    • 98 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.
    • 97 Metascore
    • 100 Eric Kohn
    More than a powerful elegy, 12 Years a Slave is a mesmerizing triumph of art and polemics: McQueen turns a topic rendered distant by history into an experience that, short of living through the terrible era it depicts, makes you feel as if you've been there.
    • 96 Metascore
    • 91 Eric Kohn
    Mr. Turner is a first-rate match of director and subject. Less an explication of the man's genius than an immersion into its essence.
    • 96 Metascore
    • 91 Eric Kohn
    Gravity lets you visit space without sugarcoating its dangers. It's a brilliant portrait of technology gone wrong that uses it just right.
    • 95 Metascore
    • 100 Eric Kohn
    Bigelow delivers an acute realization of the mission's execution that's eerily in sync with the way it played in the popular imagination. Visually, the events unfold as a mashup of shadowy movements with flashes of green night vision. It's simultaneously predictable and tense.
    • 95 Metascore
    • 100 Eric Kohn
    It's a frantic microcosm of life itself.
    • 94 Metascore
    • 100 Eric Kohn
    Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.
    • 94 Metascore
    • 100 Eric Kohn
    At first galvanizing in its depiction of survival amid dire circumstances, "The Overnighters" transforms into a devastating portrait of communal unrest.
    • 94 Metascore
    • 100 Eric Kohn
    First Cousin Once Removed benefits from the clarity provided by Honig's published poetry, which surfaces in voiceover narration and words on the screen, rendering the undulations of his life in sweeping abstractions.
    • 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.
    • 93 Metascore
    • 91 Eric Kohn
    Hoss' portrayal of a woman at odds with her surroundings is in a class by itself.
    • 93 Metascore
    • 83 Eric Kohn
    Rock's savage wit comes through in the wry screenplay, which is loaded with topicality as it pokes fun at subjects ranging from Tyler Perry movies to Angry Birds.
    • 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.
    • 92 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.
    • 91 Metascore
    • 100 Eric Kohn
    Shot in gorgeously expressionistic black-and-white and fusing multiple genres into a thoroughly original whole, Amirpour has crafted a beguiling, cryptic and often surprisingly funny look at personal desire that creeps up on you with the nimble powers of its supernatural focus.
    • 91 Metascore
    • 100 Eric Kohn
    Compared to "The Act of Killing," Oppenheimer's technique with The Look of Silence is deceptively simple, but it applies a more traditional style of documentary storytelling to extraordinary goals.
    • 91 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.
    • 91 Metascore
    • 100 Eric Kohn
    Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.
    • 90 Metascore
    • 91 Eric Kohn
    Moment to moment, Birdman manages to shift gears, its roaming camera revealing new surprises as it glides along. That degree of unpredictability provides it with the ultimate response to the sea of formulaic mediocrities at the center of its critique.
    • 90 Metascore
    • 91 Eric Kohn
    It portrays the struggle from the inside, from about as far from the filter of mainstream media as one can get, capturing tense shootouts and the extremes of revolutionary spirit in unnerving detail.
    • 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.
    • 90 Metascore
    • 83 Eric Kohn
    Story comes second to Russell over the rhythms of well-timed bickering, which is a blessing and a curse in American Hustle.
    • 89 Metascore
    • 91 Eric Kohn
    Playing make believe with murderers, Oppenheimer risks the possibility of empowering them. However, by humanizing psychopathic behavior, The Act of Killing is unparalleled in its unsettling perspective on the dementias associated with dictatorial extremes.
    • 89 Metascore
    • 91 Eric Kohn
    It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
    • 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.
    • 88 Metascore
    • 100 Eric Kohn
    The cumulative impact of The Arbor is one of claustrophobia; at times, the endlessly downbeat adventures of Dunbar and her offspring grow almost unbearably morose.
    • 88 Metascore
    • 91 Eric Kohn
    Kechiche excels at capturing his protagonist's emergence in the world.