For 546 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 Tiniest Place
Lowest review score: 25 Bel Ami
Score distribution:
  1. Negative: 9 out of 546
546 movie reviews
    • 76 Metascore
    • 67 Eric Kohn
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
    • 59 Metascore
    • 67 Eric Kohn
    A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
    • 60 Metascore
    • 67 Eric Kohn
    To be fair, Breathe In may hit a lot of familiar beats, but none of them are entirely unwelcome.
    • 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.
    • 57 Metascore
    • 67 Eric Kohn
    It's less of a showcase for Bateman's ability to direct comedic storytelling than simply to make people laugh, which makes Bad Words a sufficiently vulgar playground.
    • 62 Metascore
    • 67 Eric Kohn
    As a whole, Begin Again is a fairly mannered treatment of an expressive medium.
    • 59 Metascore
    • 67 Eric Kohn
    It tries to have some bite to its will-they-or-won't-they scenario but ultimately winds up toothless.
    • 61 Metascore
    • 67 Eric Kohn
    Lucy doesn't hold together, but with its flashy innovation, Besson's trying to freshen the formula. It's the kind of freewheeling mess of a movie you wish studios would try out more often.
    • 80 Metascore
    • 67 Eric Kohn
    Singled-handedly carrying the story to its inevitable conclusion, [Wasikowska] gives Tracks a level of depth that nothing else in the movie can provide.
    • 69 Metascore
    • 67 Eric Kohn
    Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.
    • 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.
    • 65 Metascore
    • 67 Eric Kohn
    While frequently very funny and sustained by a pair of boldly unlikable female protagonists, Fort Tilden adopts the glorious stupidity of its stars, and echoes their gratingly obnoxious temperaments.
    • 48 Metascore
    • 67 Eric Kohn
    Whenever Lee ventures away from the outrageous particulars of the plot, "Da Sweet Blood of Jesus" transforms into a stylish means of exploring contemporary struggles in urban black America by depicting it as a ballet of navigating personal and practical conflicts alike.
    • 65 Metascore
    • 67 Eric Kohn
    Takei is a natural storyteller who lends an enjoyable flow to the movie’s uncomplicated proceedings.
    • 50 Metascore
    • 58 Eric Kohn
    A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
    • 55 Metascore
    • 58 Eric Kohn
    While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.
    • 60 Metascore
    • 58 Eric Kohn
    Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
    • 55 Metascore
    • 58 Eric Kohn
    While certainly the most dazzling Superman movie to hit the big screen, the 143-minute Man of Steel is also the longest, and it only justifies that heft because it leaves room to keep the effects coming.
    • 37 Metascore
    • 58 Eric Kohn
    W.E. is less outright bad than underwhelming; if the director were unknown, it would hardly deserve notice. Like her first film, the 2008 "Filth and Wisdom," it suffers from countless storytelling flaws.
    • 37 Metascore
    • 58 Eric Kohn
    Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
    • 50 Metascore
    • 58 Eric Kohn
    Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
    • 45 Metascore
    • 58 Eric Kohn
    The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
    • 68 Metascore
    • 58 Eric Kohn
    By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
    • 56 Metascore
    • 58 Eric Kohn
    It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.
    • 48 Metascore
    • 58 Eric Kohn
    This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
    • 68 Metascore
    • 58 Eric Kohn
    Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
    • 53 Metascore
    • 58 Eric Kohn
    As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
    • 65 Metascore
    • 58 Eric Kohn
    It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
    • 54 Metascore
    • 58 Eric Kohn
    This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
    • 78 Metascore
    • 58 Eric Kohn
    Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.