For 635 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 17.1 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: 10 out of 635
635 movie reviews
    • 78 Metascore
    • 75 Eric Kohn
    A spectacular noir epic that's equal parts murky, bloated, flashy and triumphantly cinematic. Four years after Nolan's "Batman Begins" sequel "The Dark Knight" rattled audiences with a similar audiovisual overload, the new movie falls into the same rhythm and remains viscerally satisfying even when the story falters.
    • tbd Metascore
    • 75 Eric Kohn
    6 Years offers little in the way of new material. Yet Fidell, working with executive producers Mark and Jay Duplass, effectively broadens her range by borrowing the sibling directors' improvisatory style and ceding control to her two leads, whose heartbreaking performances imbue this familiar Austin-set narrative with a fiery edge.
    • 78 Metascore
    • 75 Eric Kohn
    Viewed as a single experience, Oki's Movie is a curious oddity worthy of multiple viewings and lengthy contemplation, but its tricky formalism makes it less overtly satisfying on an emotional level.
    • 66 Metascore
    • 75 Eric Kohn
    The Butler carries an authenticity that sustains it through its cloying stretches.
    • 57 Metascore
    • 75 Eric Kohn
    Increasingly silly even as it maintains a grave tone, Proxy doesn't always work, but its commitment to unpredictable twists and pushing beyond morbid extremes bears the stamp of showmanship sorely lacking from many other examples of the genre.
    • 71 Metascore
    • 75 Eric Kohn
    Winstead's performance provides a trenchant wakeup call even when the movie can't keep pace.
    • 37 Metascore
    • 75 Eric Kohn
    Chun treats the material with a sophistication that brings its pulpy scenario down to earth. Not even Bryan Cranston with a cheap Slavic accent can stop him.
    • 67 Metascore
    • 75 Eric Kohn
    The absence of suspense results in something closer to a one-sided pat on the back for everyone involved, though it effectively puts forth a whole new set of challenges.
    • 60 Metascore
    • 75 Eric Kohn
    A minor work by Loach's standards, the movie nevertheless marks his most enjoyable effort in years.
    • 64 Metascore
    • 75 Eric Kohn
    It's fascinating to watch Murray act circles around his existing appeal and play into it at the same time. Melfi's likable but utterly formulaic movie never rises to a similar level of ambition, which in this case actually works in its favor. It gives Murray room to play.
    • 17 Metascore
    • 75 Eric Kohn
    Like the original, the most shocking aspect comes from the revelation that Six can actually tell a story.
    • 60 Metascore
    • 75 Eric Kohn
    It's a showcase of proficient storytelling that's eager to entertain.
    • 63 Metascore
    • 75 Eric Kohn
    Just strange enough to get inside your head, it's ultimately less committed to the meaning behind its events than the lucid means by which they take place.
    • 67 Metascore
    • 75 Eric Kohn
    The calibration of mature performances and a reasonably credible, if somewhat familiar, scenario make "Eleanor Rigby" a lot more watchable than the strange conceit of the production.
    • 65 Metascore
    • 75 Eric Kohn
    It's almost enough to make you wish that Kokidas and co-writer Austin Bunn had fictionalized the story. But then again, a beardless Ginsberg isn't really Ginsberg at all, which gives Radcliffe all the room to play around with the character that he needs. It might be best spell yet.
    • 66 Metascore
    • 75 Eric Kohn
    The result is an uneven drama with genuine intellectual heft that often outshines its flaws.
    • 61 Metascore
    • 67 Eric Kohn
    Polanski struggles to make the material more cinematic, toying with clever mise-en-scene to showcase the mounting tensions. However, Carnage repeatedly suffers from an internal tension between the possibilities of two media at odds with each other.
    • 74 Metascore
    • 67 Eric Kohn
    The filmmaker's first-rate access feels like a kind of desecration.
    • 83 Metascore
    • 67 Eric Kohn
    Though Villeneuve magnifies the pervasive dread surrounding the modern drug war, he's better at conveying the thrill of creeping through that battlefield than the complex set of interests sustaining it.
    • 49 Metascore
    • 67 Eric Kohn
    The long take pulls you into the realism of the moment, heightening any sense of unease already established by the story. In Silent House, directors Chris Kentis and Laura Lau ("Open Water") exploit the hell out of that uneasiness and keep pushing its limits.
    • 75 Metascore
    • 67 Eric Kohn
    An impressive feat that relies on distraction rather than fancy effects, it's easy to get swept up and forget that it's a very sweaty retread that's been done many times before.
    • 72 Metascore
    • 67 Eric Kohn
    No matter how much The Theory of Everything showcases the incredible process through which Hawking maintains a connection to the rest of the world, it falls short of burrowing inside his head.
    • 21 Metascore
    • 67 Eric Kohn
    By exploring a narrow scenario from one chapter of Kelly's life, Grace of Monaco plays like fragments of an uncompleted biopic that's been art directed within an inch of its life.
    • 68 Metascore
    • 67 Eric Kohn
    Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
    • 71 Metascore
    • 67 Eric Kohn
    Though Get On Up never congeals into a satisfactory whole, its fragmentary portrait of the singer at the height of his fame — intercut with his troubled single-parent childhood — effectively shows his invasive power in popular culture.
    • 69 Metascore
    • 67 Eric Kohn
    Boone’s unobtrusive style takes cues from the subdued nature of the material, but there’s little about the movie that makes the filmmaking stand out. Instead, it derives its chief strengths from a series of efforts to take the drama seriously, mainly embodied by Woodley’s onscreen investment in it.
    • 57 Metascore
    • 67 Eric Kohn
    An ode to the strength of onscreen horror even in its less inspired state, the new Evil Dead primarily succeeds at illustrating how the originals have managed to stand the test of time.
    • 59 Metascore
    • 67 Eric Kohn
    It pitches a tone between comedy and tragedy that holds unique appeal.
    • 55 Metascore
    • 67 Eric Kohn
    Tom Hanks' appearances come across like scene changes between unfunny sketches on 'Saturday Night Live.'
    • 59 Metascore
    • 67 Eric Kohn
    The whole thing is a step above studio romantic comedies, but that's not saying much.

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