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
    • 62 Metascore
    • 75 Eric Kohn
    Edwards manages to sustain a grim, cerebral atmosphere all the way through, as if fighting the inevitable demands of the material. The movie contains enough basic money shots to please hardcore Godzilla fans without indulging in them at every opportunity. By contemporary blockbusters standards, it's practically a minimalist enterprise.
    • 48 Metascore
    • 75 Eric Kohn
    As Last Vegas glides along, satisfying expectations while always aiming low, it makes peace with being inoffensively mediocre. Like Vegas itself, the story goes down easy, but its appeal is hard to remember once you leave it behind.
    • 57 Metascore
    • 75 Eric Kohn
    Any bona fide sushi fan stands to benefit from the general wake up call that "The Global Catch" provides in ample doses.
    • 34 Metascore
    • 75 Eric Kohn
    Beers' screenplay manages to sustain the outrageous scenario with a string of jokes that don't take the underlying goofiness for granted. Instead, the writer-director builds on its crass foundations with constant inspired one-liners.
    • 69 Metascore
    • 75 Eric Kohn
    Though never entirely the sum of its parts, Party Girl delivers a gentle, somber portrait of the aging process that's consistently believable precisely because not much happens.
    • 71 Metascore
    • 75 Eric Kohn
    With self destruction as destiny, Reitman has made the equivalent of a Roland Emmerich disaster movie writ small, an apocalyptic scenario internalized by a single person.
    • 66 Metascore
    • 75 Eric Kohn
    By the standards of Jordan's earlier films, "Byzantium" is unquestionably a minor achievement, but its technical specs help flesh out a thick environment that elevates the proceedings to a lyrical plane.
    • 60 Metascore
    • 75 Eric Kohn
    Of course, it might take time for Jim Loach to catch up with his father's track record; Oranges & Sunshine is a good place to start.
    • 86 Metascore
    • 75 Eric Kohn
    At two and a half hours, Lincoln contains only a single battle scene in its opening seconds. The rest is pure talk, a keen dramatization of Doris Kearns Goodwin's tome "Team of Rivals," that delivers an overview of Lincoln's crowning achievement in chunks of strategy talk.
    • 74 Metascore
    • 75 Eric Kohn
    An earnest, sometimes bland and unsophisticated look at Corinne's undulating relationship to spirituality in general and Christian dogma in particular. But it's also a surprisingly well-made character study outside of its specific theme.
    • 52 Metascore
    • 75 Eric Kohn
    Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.
    • 62 Metascore
    • 75 Eric Kohn
    A minor effort in a filmography largely composed of them, All the Light in the Sky is nonetheless satisfying on the terms it establishes early on.
    • 71 Metascore
    • 75 Eric Kohn
    Padilha channeled national frustrations into zeitgeist entertainment. The follow-up, Elite Squad: The Enemy Within, has less success than the first installment in achieving that aim, but still keeps the snazzy combination of spectacle and polemics in check.
    • 65 Metascore
    • 75 Eric Kohn
    The Bay manages to scare up a real fear of environmental neglect. It's quite possibly the first example of jump scares used in service of activism.
    • 57 Metascore
    • 75 Eric Kohn
    It's no less of an accomplished performance than Hilary Swank's similar turn in "Boys Don't Cry" or newcomer Zoé Herán's delicate achievement as the lead in "Tomboy." Unfortunately, Albert Nobbs traps Close's sizable talent in a simplistic drama--not unlike Nobbs herself who winds up trapped in a restrictive period.
    • 50 Metascore
    • 75 Eric Kohn
    The movie's potential blossoms whenever it toys with the allegorical ingredients head-on. DeMonaco's script plays like a devious Brothers Grimm tale told through the filter of Occupy Wall Street.
    • 57 Metascore
    • 75 Eric Kohn
    While still invested in grandiose swipes at big ideas and the epistemological babbling of a late night college dorm room conversation, Cahill generates an authentic sense of mystery by keeping a tighter lid on the secrets of the universe.
    • 75 Metascore
    • 75 Eric Kohn
    There's no question about the efficacy of Scorsese's filmmaking prowess, only that he never knows -- or doesn't care -- to slow down and deepen the material.
    • 54 Metascore
    • 75 Eric Kohn
    Like Whedon's whip-smart "Avengers" screenplay, Thor: The Dark World manages to acknowledge the inherently silly nature of its premise while compellingly asserting that, hey, sometimes it's fun to suspend your disbelief when the results look this good.
    • 75 Metascore
    • 75 Eric Kohn
    While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
    • 76 Metascore
    • 75 Eric Kohn
    While the documentary's structure is somewhat uneven, its protagonists remain fascinating subjects whose recollections — along with backstories fleshed out by their wives and parents — include revelations of much greater challenges than the movie itself.
    • 46 Metascore
    • 75 Eric Kohn
    Black Rock never reinvents the rules, but it understands them just well enough to make its bloodless stabs at ingenuity stand out.
    • 81 Metascore
    • 75 Eric Kohn
    Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
    • 63 Metascore
    • 75 Eric Kohn
    Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
    • 64 Metascore
    • 75 Eric Kohn
    One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
    • 65 Metascore
    • 75 Eric Kohn
    With the exception of a few candid moments featuring James at home, Knuckle isn't particularly well-made, but there's an inherently fascinating quality to the material.
    • 58 Metascore
    • 75 Eric Kohn
    Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
    • 60 Metascore
    • 75 Eric Kohn
    As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.
    • 73 Metascore
    • 75 Eric Kohn
    Even though the story involves legitimate issues surrounding sexual identity and the boundaries of monogamy, its humor only goes surface deep. For the most part, the endearingly silly plot amounts to little more than sight gags and off-the-wall asides.
    • 64 Metascore
    • 75 Eric Kohn
    Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.

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