For 619 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 17.5 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 The Overnighters
Lowest review score: 25 Bel Ami
Score distribution:
  1. Negative: 9 out of 619
619 movie reviews
    • 59 Metascore
    • 75 Eric Kohn
    Jolie keeps the narrative afloat thanks to first-rate craftsmanship, a few well-honed moments of bonafide suspense, and a terrifically restrained Jack O'Connell in the lead role. While it only hints at the sweeping epic that never fully materializes, Unbroken offers further proof that Jolie's directorial instincts pass muster alongside her other talents.
    • 73 Metascore
    • 75 Eric Kohn
    Even though the story involves legitimate issues surrounding sexual identity and the boundaries of monogamy, its humor only goes surface deep. For the most part, the endearingly silly plot amounts to little more than sight gags and off-the-wall asides.
    • 78 Metascore
    • 75 Eric Kohn
    Though hardly a singular achievement on par with its precedents in the filmmaker's career, Results shows the first indication of Bujalski's ability to tell stories on a larger scale.
    • 58 Metascore
    • 75 Eric Kohn
    Pretty and discardable in equal measures, the movie illustrates ingredients of the filmmaker's appeal while falling short of assembling them into a coherent whole.
    • 67 Metascore
    • 75 Eric Kohn
    In spite of the constant activity, there's not a whole lot going on, but it's still a fun place to visit.
    • 76 Metascore
    • 75 Eric Kohn
    While the documentary's structure is somewhat uneven, its protagonists remain fascinating subjects whose recollections — along with backstories fleshed out by their wives and parents — include revelations of much greater challenges than the movie itself.
    • 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.
    • 35 Metascore
    • 67 Eric Kohn
    The whole thing is a flimsy parody of an easy target-at best infectious and at worst gratingly incoherent, but uniformly original.
    • 67 Metascore
    • 67 Eric Kohn
    The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
    • 65 Metascore
    • 67 Eric Kohn
    Bier has done far more compelling work before, but the globe-spanning, life-affirming, morally upright trajectory of her latest accomplishment weakens its quality while sustaining its popularity. In a Better World is heavy, but it's also heavy-handed.
    • 51 Metascore
    • 67 Eric Kohn
    Like the poster, Meet Monica Velour is engaging to a point, but leaves much to be desired.
    • 36 Metascore
    • 67 Eric Kohn
    Easy on the eyes, intermittently amusing and never downright awful.
    • 65 Metascore
    • 67 Eric Kohn
    The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
    • 64 Metascore
    • 67 Eric Kohn
    Weisz flirts with greatness but unfortunately misses the opportunity to make the material soar. And yet he comes close.
    • 42 Metascore
    • 67 Eric Kohn
    While indisputably beautiful and affecting in parts, "Snow Flower" is dominated by tame dramatic ingredients that never fully gel.
    • 65 Metascore
    • 67 Eric Kohn
    The reason to care about Life, Above All doesn't stem from its bleeding-heart plot...The reason to care is newcomer Khomotso Manyaka, who nimbly shoulders a role that places her front and center in nearly every scene.
    • 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.
    • 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.
    • 63 Metascore
    • 67 Eric Kohn
    Well cast and undeniably attuned to the nuances of human behavior, Amigo nevertheless suffers from simple dramatic shorthand.
    • 48 Metascore
    • 67 Eric Kohn
    Anne Hathaway's faux British accent might be the first obvious conceit in One Day, but not its most cumbersome. That distinction belongs to the eponymous structure, a claustrophobic device that follows a pair of best friends over the course of a 22-year period, but only on many versions of July 15th.
    • 56 Metascore
    • 67 Eric Kohn
    Largely a cut-and-paste affair, although useful for that very reason; it provides a glaring reminder that scary movies have evolved, both in terms of style and expectations, but the evolution isn't worth the effort.
    • 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.
    • 58 Metascore
    • 67 Eric Kohn
    There are plenty of guts, but The Woman doesn't have enough to make its feminist rhetoric stick.
    • 70 Metascore
    • 67 Eric Kohn
    The Spanish auteur has a good time with outrageous plot twists and offbeat sexual intrigue. However, Almodóvar appears unmotivated to even try holding it all together. Instead, he lets the mess pile up and enjoys it.
    • 56 Metascore
    • 67 Eric Kohn
    The result is a subpar comic adventure that's nonetheless admirable for its restrained vision of Thompson in his early gestation period.
    • 65 Metascore
    • 67 Eric Kohn
    The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
    • 52 Metascore
    • 67 Eric Kohn
    As exercises in pulp go, this one yields a solid workout.
    • 67 Metascore
    • 67 Eric Kohn
    Can actors save a mediocre movie? In London River, they come close. Blethyn's frantic, sad naivete creates a fascinating contrast to Kouyaté's understated performance.
    • 58 Metascore
    • 67 Eric Kohn
    Admittedly lovely and heartfelt, Norwegian Wood is also hollow.
    • 74 Metascore
    • 67 Eric Kohn
    Over time, Holland's approach pushes beyond despair and turns into a pure exercise in grim atmosphere, shifting from a story of staying alive to a closeup of a private hell.

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