For 585 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 585
585 movie reviews
    • 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
    • 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.
    • 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.
    • 67 Metascore
    • 91 Eric Kohn
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
    • 67 Metascore
    • 91 Eric Kohn
    By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
    • 67 Metascore
    • 91 Eric Kohn
    It's incredibly uneventful and devastating all at once.
    • 67 Metascore
    • 83 Eric Kohn
    By making the inanimate animate, they make nature come to life, and so does Convento.
    • 67 Metascore
    • 83 Eric Kohn
    As the portrait of a relationship meltdown involving two eccentric creative types prone to self-doubt, July's sophomore feature bears a strong resemblance to husband Mike Mills's upcoming "Beginners," although July's version of the story has a more experimental edge.
    • 67 Metascore
    • 91 Eric Kohn
    Kazan has fun with a silly premise and smartly plays it straight when the occasion calls for it, while keeping the cutesy, fantastical extremes of the material at bay. It's less fairy tale than shrewd exaggeration on the pratfalls of desire.
    • 67 Metascore
    • 83 Eric Kohn
    Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
    • 66 Metascore
    • 83 Eric Kohn
    With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
    • 66 Metascore
    • 91 Eric Kohn
    A less controlled and slapdash character piece than "In Bruge," McDonagh's new movie benefits greatly from a plethora of one-liners that toy with crime movie clichés in the unlikely context of writerly obsessions.
    • 66 Metascore
    • 83 Eric Kohn
    Douglas Miller's Dinosaur 13 is both awe-inspiring and tragic. Conventionally made but featuring an undeniably compelling story at its core, Miller’s debut benefits greatly from the combination of passion and sadness embedded in its subjects’ tale.
    • 66 Metascore
    • 91 Eric Kohn
    It's an unflinching update to media scholar Neil Postman's prophetic claim about the deadly impact of television on cultural identity: Smartphones in hand, we face the danger of filming ourselves to death.

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