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 Short Term 12
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 9 out of 570
570 movie reviews
    • 59 Metascore
    • 67 Eric Kohn
    The whole thing is a step above studio romantic comedies, but that's not saying much.
    • 53 Metascore
    • 67 Eric Kohn
    Cafe de Flore constantly hovers on the brink on some revelation it never quite arrives at.
    • 55 Metascore
    • 67 Eric Kohn
    Promised Land can't help but preach its cause in obvious ways that continually hold back an otherwise well-acted, swiftly paced drama.
    • 65 Metascore
    • 67 Eric Kohn
    While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.
    • 71 Metascore
    • 67 Eric Kohn
    Edge of Tomorrow is slick, but once its fancy plot dressing takes form, it has little more to offer aside from a few impressive action sequences and the infallible grin of its nimble lead.
    • 71 Metascore
    • 67 Eric Kohn
    Recording "Body and Soul" with Bennet only a short period before her death, Winehouse's simultaneously effusive presence not only illustrates her fragility but stands in sharp contrast to the stable work ethic that Bennett has cultivated over the course of his 60-year career.
    • 56 Metascore
    • 67 Eric Kohn
    There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
    • 60 Metascore
    • 67 Eric Kohn
    Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
    • 42 Metascore
    • 67 Eric Kohn
    While never as dynamically involving as Christopher Nolan's "Inception," for which longtime Nolan director of photography Pfister justifiably won an Oscar, Transcendence still grapples with provocative existential concepts in similarly thoughtful terms.
    • 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.
    • 67 Metascore
    • 67 Eric Kohn
    Crystal Fairy has little to say beyond Cera's capacity to transform into an amazingly uncomfortable screen presence, something we already knew.
    • 66 Metascore
    • 67 Eric Kohn
    Well made as it is, Don Jon suffers from a half-baked scenario that never manages to make its characters as intriguing as the problems that afflict its protagonist. It's a movie that shows better than it tells, even as it leaves much up to the imagination.
    • 69 Metascore
    • 67 Eric Kohn
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
    • 38 Metascore
    • 67 Eric Kohn
    Whether Girl Most Likely intentionally satirizes its upending of conventions or suffers from a half-assed screenplay, the resulting hodgepodge at least livens up a clichéd premise.
    • 86 Metascore
    • 67 Eric Kohn
    It's a sad, thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present, ideas that Payne regards with gentle humor and pathos but also something of a shrug.
    • 77 Metascore
    • 67 Eric Kohn
    As a conversation starter, The World Before Her gets the job done. By virtue of the topic and interviews, Pahuja showcases plenty of tensions between old world values and idealistic goals. That's hardly enough to make its narrative persistently alluring or emotionally sound.
    • 44 Metascore
    • 67 Eric Kohn
    In A Million Ways to Die in the West, MacFarlane loads up enough zaniness to make for a generally enjoyable mashup, particularly because the genial plot affords him a solid backdrop.
    • 73 Metascore
    • 67 Eric Kohn
    The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
    • 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.
    • 78 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.
    • 68 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.
    • 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.