For 871 reviews, this critic has graded:
  • 75% higher than the average critic
  • 3% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 14.9 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: 16 Rings
Score distribution:
  1. Negative: 15 out of 871
871 movie reviews
    • 72 Metascore
    • 83 Eric Kohn
    Magic Mike casts a seriously entertaining spell.
    • 57 Metascore
    • 83 Eric Kohn
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
    • 74 Metascore
    • 83 Eric Kohn
    When the concept really clicks, Casting JonBenet operates as a darkly entertaining look at how gossip can fuel legend to the point where truth loses its relevance.
    • 82 Metascore
    • 83 Eric Kohn
    Produced by Keanu Reeves, this talking heads survey of the transition from shooting on film to digital video is against all odds an imminently watchable overview, and not only because Reeves has decent interview skills.
    • 73 Metascore
    • 83 Eric Kohn
    A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
    • 71 Metascore
    • 83 Eric Kohn
    Dastmalchian's screenwriting debut bodes well for an alternative career alongside his performances. While never transcendent, the story's patient rhythms allow for a wholly believable world to take shape before it comes crashing down.
    • 74 Metascore
    • 83 Eric Kohn
    The story retains an inscrutable tone that sometimes makes its emotional qualities feel remote, but it still delivers a powerful message about the challenge of self-diagnosis by rooting it in universal experience
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 75 Metascore
    • 83 Eric Kohn
    While overlong and occasionally too reliant on a formulaic set of motives to drive the action forward, Easy Money retains its suave composure right through the engrossing finale.
    • 63 Metascore
    • 83 Eric Kohn
    More than anything else, Hello, My Name is Doris effectively conveys the cruel ambivalence of an ageist society, and despite its formulaic ingredients, the movie responds to that setback with Field's exuberant, virtuoso turn providing the ultimate critical response.
    • 72 Metascore
    • 83 Eric Kohn
    Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.
    • 56 Metascore
    • 83 Eric Kohn
    Anchored by a remarkably convincing performance by James Franco in the lead role, I Am Michael manages to explore Glatze's story without condemning him, even as it foregrounds the troubling nature of his path.
    • 77 Metascore
    • 83 Eric Kohn
    The Hunting Ground is at its best when it stops dwelling on variations of the problem and points toward a solution.
    • 72 Metascore
    • 83 Eric Kohn
    If you've never heard of LCD Soundsystem or cared much for the group's work, Shut Up and Play the Hits still manages to explore the prospects of fame and contemporary rock music's lasting relevance.
    • 81 Metascore
    • 83 Eric Kohn
    Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.
    • 78 Metascore
    • 83 Eric Kohn
    Beware of Mister Baker won the Grand Jury Prize at the SXSW Film Festival earlier this year, perhaps because it was the best embodiment of a recent trend in the non-fiction realm.
    • 84 Metascore
    • 83 Eric Kohn
    On the Beach at Night Alone is a fascinating sublimation of autobiography into Hong’s precise creative terms, a bittersweet character study as poignant, witty and deceptively slight as much of his work that also refurbishes it with a unique personal dimension.
    • 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.
    • 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.
    • 79 Metascore
    • 83 Eric Kohn
    For a quarter of a century -- unbeknownst to most Americans, including Rodriguez's original producers -- the singer landed a massive following in the country where his humanitarian outlook provided an escape for many disgruntled youth struggling under apartheid, elevating him to the stature of a "South African Elvis."
    • 66 Metascore
    • 83 Eric Kohn
    The “Potter” movies were so well conceived that they contain endless possibilities for more entries, and “Fantastic Beasts” takes the bait right on cue, not repeating a formula so much as enriching it with a spellbinding polish.
    • 65 Metascore
    • 83 Eric Kohn
    The film never quite flies off the rails so much as it careens from side to side on the same beguiling path, with the most remarkable outcome being that the enigmatic pieces fit together.
    • 73 Metascore
    • 83 Eric Kohn
    The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
    • 85 Metascore
    • 83 Eric Kohn
    Shot over the course of several years, the movie blends an intimate perspective with trenchant investigative chops, uncovering a transitory figure whose romantic ideals give way to a harsh reality check.
    • 75 Metascore
    • 83 Eric Kohn
    Despite the mixture of vérité footage and home movies showing the Angulos in their apartment, The Wolfpack feels more in line with a form of ethnographic storytelling than anything else, because the story is told exclusively in terms of their relationship to it.
    • 72 Metascore
    • 83 Eric Kohn
    Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
    • 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.
    • 80 Metascore
    • 83 Eric Kohn
    The Last of the Unjust rewards those willing to invest in Lanzmann's pensive technique with a complex tale that's alternately sad, enlightening, unexpectedly witty and ultimately exhausting, but carried along throughout by Lanzmann's commitment.
    • 58 Metascore
    • 83 Eric Kohn
    In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
    • 71 Metascore
    • 83 Eric Kohn
    For everything that Mozart's Sister imagines, it leaves much more up to imagination.

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