For 566 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 V/H/S
Lowest review score: 25 Lovelace
Score distribution:
  1. Negative: 9 out of 566
566 movie reviews
    • 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
    • 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.
    • 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
    • 83 Eric Kohn
    It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
    • 66 Metascore
    • 83 Eric Kohn
    The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
    • 65 Metascore
    • 91 Eric Kohn
    In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
    • 65 Metascore
    • 83 Eric Kohn
    Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
    • 65 Metascore
    • 83 Eric Kohn
    The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
    • 65 Metascore
    • 91 Eric Kohn
    This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
    • 65 Metascore
    • 91 Eric Kohn
    Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
    • 64 Metascore
    • 83 Eric Kohn
    Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
    • 64 Metascore
    • 83 Eric Kohn
    West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
    • 64 Metascore
    • 83 Eric Kohn
    Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.