For 629 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 The Duke of Burgundy
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 629
629 movie reviews
    • 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
    • 83 Eric Kohn
    The filmmaker is ultimately better at constructing nuanced environments and troubled figures than making every piece of the equation gel as a whole. But that's a minor issue in the overall tapestry of Chandor's carefully designed 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.
    • 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
    • 91 Eric Kohn
    The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
    • 79 Metascore
    • 91 Eric Kohn
    If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 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
    • 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.
    • 77 Metascore
    • 100 Eric Kohn
    Buzzard is among the first great American satires of the 21st century, its scathing indictment of capitalism delivered as a prolonged, disorienting punchline.
    • 77 Metascore
    • 83 Eric Kohn
    The Hunting Ground is at its best when it stops dwelling on variations of the problem and points toward a solution.
    • 77 Metascore
    • 100 Eric Kohn
    While adhering to an internal logic that makes each punchline land with a satisfying burst of glee, the movie nevertheless stems from genuine fury aimed a broken world. It's the rare storytelling endeavor that manages to be laughably absurd and profoundly tragic at the same time.
    • 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.
    • 77 Metascore
    • 83 Eric Kohn
    The extensive two-hour running time only slightly hinders a simultaneously amusing and powerful encapsulation of Brand's journey from outrageous provocateur to enlightened zealot preaching for social change.
    • 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.

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