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
    • 49 Metascore
    • 83 Eric Kohn
    It's been so long since Lee made such a thoroughly amusing work that fans should have no problem excusing its messiness. But make no mistake... Oldboy is all over the place, sometimes playing like a subdued melodrama and elsewhere erupting into flamboyance and gore.
    • 90 Metascore
    • 83 Eric Kohn
    Story comes second to Russell over the rhythms of well-timed bickering, which is a blessing and a curse in American Hustle.
    • 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.
    • 66 Metascore
    • 83 Eric Kohn
    Douglas Miller's Dinosaur 13 is both awe-inspiring and tragic. Conventionally made but featuring an undeniably compelling story at its core, Miller’s debut benefits greatly from the combination of passion and sadness embedded in its subjects’ tale.
    • 56 Metascore
    • 83 Eric Kohn
    In Towheads, every comic bit is weighted with an awkward blend of sadness and irreverent humor.
    • 70 Metascore
    • 83 Eric Kohn
    Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
    • 68 Metascore
    • 83 Eric Kohn
    Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
    • 75 Metascore
    • 83 Eric Kohn
    There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.
    • 64 Metascore
    • 83 Eric Kohn
    Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.
    • 83 Metascore
    • 83 Eric Kohn
    No matter its conceptual intentions, It Follows never ventures too far from visceral horror. Mitchell populates a number of scenes with well-timed jump scares as the being frequently bursts out of the shadows or appears in unexpected forms, while the score provides a screaming punctuation mark.
    • 74 Metascore
    • 83 Eric Kohn
    As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
    • 75 Metascore
    • 83 Eric Kohn
    For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
    • 67 Metascore
    • 83 Eric Kohn
    While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
    • 76 Metascore
    • 83 Eric Kohn
    The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
    • 62 Metascore
    • 83 Eric Kohn
    While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
    • 79 Metascore
    • 83 Eric Kohn
    It speaks to the masses with some treats for the discerning types in the back.
    • 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.
    • 55 Metascore
    • 83 Eric Kohn
    Despite its ludicrous turns, the movie benefits from the far-fetched events for its sheer willingness to go there, not unlike Smith's goofy, self-deprecating public persona.
    • 83 Metascore
    • 83 Eric Kohn
    Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
    • 81 Metascore
    • 83 Eric Kohn
    Rock's savage wit comes through in the wry screenplay, which is loaded with topicality as it pokes fun at subjects ranging from Tyler Perry movies to Angry Birds.
    • 76 Metascore
    • 83 Eric Kohn
    While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
    • 54 Metascore
    • 83 Eric Kohn
    This admittedly uneven first feature stands out for the way it sneaks up on you.
    • 81 Metascore
    • 83 Eric Kohn
    Inherent Vice constantly teases at a complex meta commentary on the other movies it brings to mind, but never totally gets there.
    • 74 Metascore
    • 83 Eric Kohn
    Brainy and exciting at the same time, Interstellar invalidates the need for mindless Hollywood product. No matter its shortcomings, the movie achieves an impressive balancing act. It turns the mysteries of the universe into a cinematic playground, but for every profound or visually arresting moment, it also encourages you to to think.
    • 79 Metascore
    • 83 Eric Kohn
    The filmmaker is ultimately better at constructing nuanced environments and troubled figures than making every piece of the equation gel as a whole. But that's a minor issue in the overall tapestry of Chandor's carefully designed world.
    • 66 Metascore
    • 83 Eric Kohn
    Decker's narrative work practically celebrates a willingness to follow outright silly pathways in order to arrive at unsettling results.
    • 80 Metascore
    • 83 Eric Kohn
    Serra's typically cerebral direction has a more vibrant quality due to the clarity of his images, though certain drawn-out sequences have an alienating effect on the drama. Still, Story of My Death manages to connect its profound aims with a devious atmosphere to match the turn of the century backdrop.
    • 73 Metascore
    • 83 Eric Kohn
    Appropriate Behavior isn’t a narrative about ethnicity or even LGBT struggles in the traditional sense, but rather a means of exploring the problems that result from reinforcing those very barriers. In the process, it introduces a thoroughly modern voice.
    • 62 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.
    • 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.

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