For 570 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 Cutie and the Boxer
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 570
570 movie reviews
    • 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.
    • 64 Metascore
    • 91 Eric Kohn
    Imagine "Harold and Maude" directed by Eric Rohmer with shades of film noir and doused in philosophical chatter enhanced by ample white wine. But Domain isn't pure formula, because the subversion of expectations is its centerpiece.
    • 64 Metascore
    • 83 Eric Kohn
    The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.
    • 64 Metascore
    • 91 Eric Kohn
    Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
    • 63 Metascore
    • 91 Eric Kohn
    The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
    • 63 Metascore
    • 83 Eric Kohn
    At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.
    • 63 Metascore
    • 83 Eric Kohn
    Wright's extraordinary long takes draw you into the universe of Anna Karenina with a seamless approach that a straightforward literary adaptation could never accomplish.
    • 63 Metascore
    • 91 Eric Kohn
    Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.
    • 63 Metascore
    • 91 Eric Kohn
    With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
    • 63 Metascore
    • 100 Eric Kohn
    A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
    • 63 Metascore
    • 91 Eric Kohn
    Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
    • 63 Metascore
    • 91 Eric Kohn
    Directors Katie Graham and Andrew Matthews' directorial debut (from Matthews' screenplay) centers on a highly unlikable character who has alienated himself from social responsibility -- and forces you to sympathize with him against all odds.
    • 62 Metascore
    • 83 Eric Kohn
    While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
    • 62 Metascore
    • 83 Eric Kohn
    With an eye for gritty, shameless fun, Friedkin unleashes the play's guilty pleasure center. Friedkin holds nothing back, but it's Letts' rambunctious plotting that enables the director to chart a path to the wild climax.
    • 62 Metascore
    • 91 Eric Kohn
    For American audiences, each gag has added appeal because it contains an uneasy humor that's often explored but never fully exploited in these parts.
    • 62 Metascore
    • 91 Eric Kohn
    Even as The Keeping Room plays with formulaic ingredients, it manages to combine them into an eloquent portrait of gender, race and the constant march of time without overstating any of its potent themes.
    • 61 Metascore
    • 100 Eric Kohn
    The Troll Hunter offers high-caliber entertainment despite a low-budget production.
    • 61 Metascore
    • 83 Eric Kohn
    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
    • 61 Metascore
    • 91 Eric Kohn
    In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
    • 61 Metascore
    • 91 Eric Kohn
    In "Adventureland" and this summer's "The Way Way Back," disillusioned teens have worked through their issues in the weeks leading up to college by taking on quirky summer jobs. However, Carey's wacky sensibilities retain a notably fresh quality by using the same framing device as an excuse to bat around one funny idea after another. The story transcends the derivative scenario through a noticeable lack of verbal censorship.
    • 61 Metascore
    • 91 Eric Kohn
    Nobody else could fit the role of a crestfallen rocker that Paul Dano embodies in director So Yong Kim's remarkable For Ellen.
    • 61 Metascore
    • 83 Eric Kohn
    With "Gravity" around the corner, Metallica Through the Never isn't the year's most groundbreaking achievement, but it's surely the most earth-shattering, and that's enough to make it one helluva comeback story.
    • 61 Metascore
    • 83 Eric Kohn
    Boyle's filmmaking style has a marvelous rhythm that weaves pop sensibilities into fluid and persistently exciting narrative experiences; he shakes these ingredients like colored sand in a jar, leading a fascinating degree of discombobulation.
    • 60 Metascore
    • 83 Eric Kohn
    The curious thing about C.O.G is that it doesn't play like a straightforward adaptation. Much of the mood comes from ingredients that have nothing to do with story or dialogue.
    • 60 Metascore
    • 83 Eric Kohn
    While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
    • 60 Metascore
    • 91 Eric Kohn
    The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
    • 59 Metascore
    • 83 Eric Kohn
    Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.
    • 58 Metascore
    • 83 Eric Kohn
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
    • 58 Metascore
    • 83 Eric Kohn
    Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.