For 841 reviews, this critic has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 15.3 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 841
841 movie reviews
    • 71 Metascore
    • 83 Eric Kohn
    Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
    • 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.
    • 40 Metascore
    • 83 Eric Kohn
    In its revelations of Salinger's flaws, the documentary capably strips away the fanaticism associated with his books to create the impression of a human being.
    • 72 Metascore
    • 83 Eric Kohn
    While hardly reinventing the wheel, Donald Cried spins it faster than usual, taking cues from its memorably irritating protagonist. Beneath its entertainment value, the movie also hints at the tragedy of aimless adulthood.
    • 64 Metascore
    • 83 Eric Kohn
    Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
    • 64 Metascore
    • 83 Eric Kohn
    This is pop art by way of lowbrow slapstick, with a premise that suggests "Cast Away" meets "Weekend at Bernie's," but really feels like a lunatic's idea of a big, broad studio comedy — or maybe a mad scientist's.
    • 84 Metascore
    • 83 Eric Kohn
    No matter its overarching ridiculousness, The Handmaiden remains a hugely enjoyable dose of grotesque escapism from a master of the form.
    • 60 Metascore
    • 83 Eric Kohn
    Magic Mike XXL keeps its aspirations low enough to satisfy only the simplest of expectations; at the end of the day, it's just another party, but sometimes a party is just good enough.
    • 60 Metascore
    • 83 Eric Kohn
    The movie presents its plot like a ridiculous gamble, and keeps pulling it off, somehow managing to justify its existence.
    • 68 Metascore
    • 83 Eric Kohn
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
    • 78 Metascore
    • 83 Eric Kohn
    Blue Jasmine belongs to Blanchett, who appears in almost every scene and frees it from the limitations of Allen's style, pushing it to far sharper results than any of the more traditional movies, good and bad, that he's churned out in the past dozen or so years.
    • 76 Metascore
    • 83 Eric Kohn
    Miller applies Gerwig to the center of a busy story with simple themes, but it glides along so effortlessly that its reductive qualities barely register. The filmmaker's exceedingly smart screenplay is the real plan, and Gerwig's performance puts it into action.
    • 79 Metascore
    • 83 Eric Kohn
    In its finer moments, however, Lee translates the book's wondrous prose into grand visual conceits meant for the big screen. Posited as a story that "will make you believe in god," instead it has the power to confirm one's faith in the cinematic experience.
    • 56 Metascore
    • 83 Eric Kohn
    In Towheads, every comic bit is weighted with an awkward blend of sadness and irreverent humor.
    • 67 Metascore
    • 83 Eric Kohn
    Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
    • 45 Metascore
    • 83 Eric Kohn
    The scariest aspect of The Boy is the extent to which Macneill makes it possible to sympathize with the troubled protagonist — even as its haunting final shot hints at the horrors yet to come.
    • 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.
    • 72 Metascore
    • 83 Eric Kohn
    At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
    • 86 Metascore
    • 83 Eric Kohn
    If nothing else, this memorable effort eloquently displays Hushpuppy's fragile understanding of her world, where the only certainty is that nothing lasts forever. That makes "Beasts" into a gigantic triumph even when it falls apart.
    • 89 Metascore
    • 83 Eric Kohn
    The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.
    • 82 Metascore
    • 83 Eric Kohn
    If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.
    • 49 Metascore
    • 83 Eric Kohn
    V/H/S 2 smartly contextualizes its nightmarish cavalcade of violence by acknowledging the luxury of enjoying it from a distance.
    • 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.
    • 64 Metascore
    • 83 Eric Kohn
    West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
    • 56 Metascore
    • 83 Eric Kohn
    Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
    • 79 Metascore
    • 83 Eric Kohn
    Sachs skillfully explores dangerous extremes -- not only drug addiction, but the slipperiness of attraction.
    • 76 Metascore
    • 83 Eric Kohn
    Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
    • 54 Metascore
    • 83 Eric Kohn
    Schroeder tracks the end of innocence in much the same way that the strip captured it each time out. Unlike "Salinger," he hardly makes a spectacle out of Watterson's secluded tendencies. The pileup of interview subjects speak eloquently on his behalf.
    • 83 Metascore
    • 83 Eric Kohn
    Maintains a funny and sad focus on its single petulant subject.
    • 77 Metascore
    • 83 Eric Kohn
    It renders a global crisis in strikingly intimate terms.

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