For 591 reviews, this critic has graded:
  • 79% higher than the average critic
  • 2% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 17.5 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Short Term 12
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 9 out of 591
591 movie reviews
    • 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
    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.
    • 78 Metascore
    • 91 Eric Kohn
    Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.
    • 78 Metascore
    • 83 Eric Kohn
    A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
    • 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.
    • 77 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.
    • 77 Metascore
    • 83 Eric Kohn
    A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
    • 77 Metascore
    • 83 Eric Kohn
    A personal work not because the director chooses to make himself a part of the story, but rather because he implicates all of us in it.
    • 77 Metascore
    • 83 Eric Kohn
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
    • 76 Metascore
    • 91 Eric Kohn
    The poetic rhythm with which Hartley brings three movies of events to an end is a tight, gripping expression of closure.
    • 76 Metascore
    • 83 Eric Kohn
    Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
    • 76 Metascore
    • 83 Eric Kohn
    While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
    • 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.
    • 76 Metascore
    • 83 Eric Kohn
    You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
    • 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.
    • 76 Metascore
    • 83 Eric Kohn
    Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
    • 76 Metascore
    • 91 Eric Kohn
    Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
    • 76 Metascore
    • 83 Eric Kohn
    The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
    • 76 Metascore
    • 83 Eric Kohn
    Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
    • 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.
    • 76 Metascore
    • 91 Eric Kohn
    Suspense is rarely delivered with such distinctive patience.
    • 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
    • 83 Eric Kohn
    Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.
    • 76 Metascore
    • 83 Eric Kohn
    Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.

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