For 572 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 The Arbor
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 572
572 movie reviews
    • 81 Metascore
    • 91 Eric Kohn
    Possibly the best war movie of the year.
    • 81 Metascore
    • 83 Eric Kohn
    No matter its conceptual intentions, It Follows never ventures too far from visceral horror. Mitchell populates a number of scenes with well-timed jump scares as the being frequently bursts out of the shadows or appears in unexpected forms, while the score provides a screaming punctuation mark.
    • 81 Metascore
    • 83 Eric Kohn
    Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.
    • 81 Metascore
    • 83 Eric Kohn
    As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
    • 81 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.
    • 81 Metascore
    • 91 Eric Kohn
    Incredibly heartfelt to a large degree because of its cast.
    • 81 Metascore
    • 91 Eric Kohn
    Mackenzie (whose previous credits include "Perfect Sense" and "Young Adam") applies a sharp kitchen sink realism to this haunting setting and directs it toward an ultimately moving family drama that just happens to involve vicious convicts.
    • 81 Metascore
    • 91 Eric Kohn
    The contrast between the movie’s traditional execution and Stritch’s domineering powers create the lingering sense that she may be the project’s true auteur.
    • 80 Metascore
    • 100 Eric Kohn
    Melancholia hovers in ambiguity with riveting aesthetic prowess.
    • 80 Metascore
    • 83 Eric Kohn
    Slickly made if not particularly stylish, the movie maintains its entertainment value for picking ideal models of American excess.
    • 80 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.
    • 80 Metascore
    • 91 Eric Kohn
    I Wish embraces blissful ignorance, even celebrating its child characters' naivete.
    • 80 Metascore
    • 91 Eric Kohn
    In each tense moment, Miss Bala has a lot to say in a few words.
    • 80 Metascore
    • 91 Eric Kohn
    With the shift from conventional rock doc into something more sophisticated, As the Palaces Burn remains enthralling all the way through.
    • 80 Metascore
    • 83 Eric Kohn
    Berberian Sound Studio constructs a perpetually strange, unseemly series of events overshadowed (and sometimes consumed by) the spooky movie-within-a-movie that hangs over every scene.
    • 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.
    • 79 Metascore
    • 83 Eric Kohn
    Baring all and radiating an affability that defines the movie's tone, Hunt delivers her finest performance since "As Good As It Gets."
    • 79 Metascore
    • 91 Eric Kohn
    Simmien both mocks and provokes the nature of our seemingly progressive times by illuminating misguided assumptions and fears embedded in forward-thinking discourse. But Simien's relentless screenplay is never too self-serious or didactic, instead pairing culturally-savvy brains with a goofy grin.
    • 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.
    • 79 Metascore
    • 91 Eric Kohn
    While blatantly topical, this is not a political film of the moment, but rather a calculated meditation on self-defined purpose in the midst of societal confusion.
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 79 Metascore
    • 83 Eric Kohn
    In its finer moments, however, Lee translates the book's wondrous prose into grand visual conceits meant for the big screen. Posited as a story that "will make you believe in god," instead it has the power to confirm one's faith in the cinematic experience.
    • 79 Metascore
    • 83 Eric Kohn
    Sachs skillfully explores dangerous extremes -- not only drug addiction, but the slipperiness of attraction.
    • 79 Metascore
    • 83 Eric Kohn
    For a quarter of a century -- unbeknownst to most Americans, including Rodriguez's original producers -- the singer landed a massive following in the country where his humanitarian outlook provided an escape for many disgruntled youth struggling under apartheid, elevating him to the stature of a "South African Elvis."
    • 78 Metascore
    • 83 Eric Kohn
    Combing a memorably gritty Ryan Gosling performance with the breakneck tempo of the getaway cars his character handles for hire, Refn churns out a hyperactive love letter to road rage with unapologetic glee. It's a total blast.
    • 78 Metascore
    • 91 Eric Kohn
    Gandolfini deserves an Oscar for Enough Said not because it's the culmination of everything that came before it but rather because it goes in a completely different direction. And his least characteristic achievement is also one of his best.
    • 78 Metascore
    • 83 Eric Kohn
    The Last of the Unjust rewards those willing to invest in Lanzmann's pensive technique with a complex tale that's alternately sad, enlightening, unexpectedly witty and ultimately exhausting, but carried along throughout by Lanzmann's commitment.
    • 78 Metascore
    • 83 Eric Kohn
    Beware of Mister Baker won the Grand Jury Prize at the SXSW Film Festival earlier this year, perhaps because it was the best embodiment of a recent trend in the non-fiction realm.
    • 78 Metascore
    • 100 Eric Kohn
    The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.
    • 78 Metascore
    • 83 Eric Kohn
    Blue Jasmine belongs to Blanchett, who appears in almost every scene and frees it from the limitations of Allen's style, pushing it to far sharper results than any of the more traditional movies, good and bad, that he's churned out in the past dozen or so years.