For 547 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 17.2 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Boyhood
Lowest review score: 25 Bel Ami
Score distribution:
  1. Negative: 9 out of 547
547 movie reviews
    • 71 Metascore
    • 83 Eric Kohn
    Sleepwalk With Me calls to mind Judd Apatow's "Funny People" for its focus on the eccentric, obsessive nature of the wannabe comic's mind.
    • 71 Metascore
    • 83 Eric Kohn
    A gigantic physique hides the fragile man beneath and Matthiesen ably follows the journey of that persona as it tunnels through mounds of muscle to reach the surface. In essence, the lion finds his courage.
    • 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.
    • 71 Metascore
    • 91 Eric Kohn
    The measured vérité style of Frederick Wiseman meets the visual polish of Terrence Malick in Dragonslayer, a fascinating slice of crude Americana from first-time director Tristan Patterson. However, it stands alone with an infectious hard rock attitude.
    • 71 Metascore
    • 91 Eric Kohn
    Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
    • 71 Metascore
    • 91 Eric Kohn
    You couldn't ask for a more appropriate genre of music to carry a movie. As Didier explains the bluegrass appeal, "the banjo sort of snarls," bringing a primal form of energy that even he can't put into words. It's also the element that manages to rescue "Broken Circle" from the meandering nature of its structural looseness, which sometimes distracts from a thoroughly involving story.
    • 70 Metascore
    • 83 Eric Kohn
    Make no mistake: Mickle wants to make you jump and scream, but death only arrives in this movie once its world comes to life, which makes each sudden turn all the more intense.
    • 70 Metascore
    • 91 Eric Kohn
    Rampart is co-written by crime writer James Ellroy as a messy, disorienting noir, and shot by cinematographer Bobby Bukowski with an unsettling degree of realism.
    • 70 Metascore
    • 83 Eric Kohn
    While visually scrumptious, the movie struggles to reach a greater profundity that it never quite obtains, but its childlike emulation of a grand tragedy is indelibly precious.
    • 70 Metascore
    • 91 Eric Kohn
    The Safdies have stood out over the last few years for continually challenging audience expectations even while seeming to adhere to conventional storytelling traditions, and that's certainly true here: You've never seen a sports movie like this before.
    • 70 Metascore
    • 83 Eric Kohn
    Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
    • 70 Metascore
    • 83 Eric Kohn
    While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
    • 70 Metascore
    • 83 Eric Kohn
    Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
    • 69 Metascore
    • 91 Eric Kohn
    In Another Country is a paragon of any given Hong movie's intrinsic charms, and yet it also manages to break from the pattern by including an English-speaking character as one of its leads.
    • 69 Metascore
    • 91 Eric Kohn
    White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
    • 69 Metascore
    • 91 Eric Kohn
    A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
    • 69 Metascore
    • 83 Eric Kohn
    He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
    • 68 Metascore
    • 83 Eric Kohn
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
    • 68 Metascore
    • 91 Eric Kohn
    Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
    • 68 Metascore
    • 83 Eric Kohn
    Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
    • 68 Metascore
    • 91 Eric Kohn
    To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
    • 68 Metascore
    • 91 Eric Kohn
    The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
    • 68 Metascore
    • 91 Eric Kohn
    That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
    • 68 Metascore
    • 91 Eric Kohn
    Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 68 Metascore
    • 91 Eric Kohn
    Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
    • 67 Metascore
    • 83 Eric Kohn
    Robot and Frank succeeds where "Ted" fails because, unlike McFarlane, Schreier and Ford render the relationship between the human character and the robot in largely credible terms.
    • 67 Metascore
    • 83 Eric Kohn
    The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.
    • 67 Metascore
    • 83 Eric Kohn
    Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
    • 67 Metascore
    • 83 Eric Kohn
    Leave it to Walken to upstage Beethoven.
    • 67 Metascore
    • 83 Eric Kohn
    The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.