For 284 reviews, this critic has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 8.2 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Son of Saul
Lowest review score: 10 Walter: Lessons from the World's Oldest People
Score distribution:
  1. Negative: 71 out of 284
284 movie reviews
    • 67 Metascore
    • 70 Inkoo Kang
    It’s a totally serviceable, if disappointingly uncinematic, film about a singular celebrity.
    • 72 Metascore
    • 70 Inkoo Kang
    The Square lands its bullseyes, over and over, with a faultless precision that grows duller with each strike.
    • 68 Metascore
    • 40 Inkoo Kang
    With its observational dispassion, My Friend Dahmer doesn’t quite help us understand why Jeff is so into killing, and it’s pretty much useless when it comes to clarifying how he justifies committing such atrocities to himself.
    • 68 Metascore
    • 40 Inkoo Kang
    Professor Marston and the Wonder Women celebrates the bravery and creativity of Diana Prince’s mastermind and his muses, but with a tepidness toward the complications of their lives. The result is a gauzy, sexy ode to unconventionality that feels distinctly and disappointingly conventional.
    • 62 Metascore
    • 60 Inkoo Kang
    Una
    The film is meant to be a negotiation of what that long-ago relationship was, and it is that. But considered in our reality of pervasive sexual iniquity, Una also feels, whatever its creators’ intentions, an awful lot like a litany of self-serving excuses for pedophilic behavior, which may or may not be sincere.
    • 79 Metascore
    • 60 Inkoo Kang
    Borrowing a few biographical details from Stanton’s life, the virtually plotless drama exudes admiration for its nonagenarian muse, but it’s built so sparely that it doesn’t have much to offer anyone who doesn’t already share its reverence for the “Paris, Texas” actor.
    • 66 Metascore
    • 70 Inkoo Kang
    There’s enough good-naturedness and cultural specificity here, alongside a slight deviation from the usual immigrant narratives, to render it a dollop of sweetness and novelty that goes down easy.
    • 73 Metascore
    • 85 Inkoo Kang
    Handsome and moving if a bit cautious, “Battle” is full of smart complexities and sensational acting, and it deserves to be considered a serious awards contender.
    • 86 Metascore
    • 70 Inkoo Kang
    Even when Ford strongly foreshadows future revelations, Strong Island holds narrative jolts, many fueled by shocks of betrayal. In losing William, the family also lost their faith in their country, their community, and in themselves.
    • 53 Metascore
    • 20 Inkoo Kang
    Director Gurinder Chadha (“It’s a Wonderful Afterlife,” “Bend It Like Beckham”) attempts to explore the cataclysmic human costs of the Partition without humanizing any of the Indian characters. And so we’re offered, on the 70th anniversary of the Partition (give or take a couple of weeks), another film about how brown suffering makes nice white people sad.
    • 43 Metascore
    • 10 Inkoo Kang
    The new horror-thriller is cheesy, asinine, convoluted and ludicrous. On the plus side, if your eyeballs need a vigorous workout, this will have them rolling nonstop.
    • 69 Metascore
    • 90 Inkoo Kang
    Chon’s dense, ambitious, and observant film is full of impressive craft and insight.
    • 60 Metascore
    • 60 Inkoo Kang
    Pilgrimage travels quite far on the momentum provided by a series of reveals. Each shifts the film’s stakes significantly enough that we look forward to the next divulgence as much as the succeeding battle scene. It ultimately stumbles when it reaches for depth, arriving at a hollow conclusion that mistakes cynicism for profundity.
    • 89 Metascore
    • 60 Inkoo Kang
    A minimalist film like Columbus depends almost entirely on the shading of the characters and the depths of the performances. By that metric, it’s a too-delicate creature, tickling and piquing instead of fully thrusting us into the realm of feelings.
    • 53 Metascore
    • 10 Inkoo Kang
    A day can be mind-numbingly dull or fate-alteringly momentous. Person to Person expresses this duh statement with scarcely more wisdom, nuance, or emotional pull.
    • 32 Metascore
    • 20 Inkoo Kang
    The death scenes range from goofy and completely preventable to modestly suspenseful.
    • 72 Metascore
    • 50 Inkoo Kang
    Director Laura Gabbert pairs her wide-ranging, blithely fawning approach to Gold with a vision of Los Angeles as blinkered as it is tempting.
    • 51 Metascore
    • 65 Inkoo Kang
    Unlike the first half, which felt like a fresh look at Biblical events from an unfamiliar POV, the latter section simply recreates the end of the Gospel of Matthew with little of the urgency or humanity that fueled it before.
    • 56 Metascore
    • 70 Inkoo Kang
    The Jesse Owens to cheer on here is, sure, the fastest man in the world, but also the canny would-be celebrity who knew exactly how to bet on himself in a world that had little use for his dignity and intellect. If that’s not an inspirational story, I don’t know what is.
    • 43 Metascore
    • 40 Inkoo Kang
    Despite arriving a decade too late, there’s a version of the small-town coming-out comedy 4th Man Out...that could feel relevant. But first-time director Andrew Nackman’s emotionally shallow, vaguely misogynistic take isn’t it.
    • 42 Metascore
    • 70 Inkoo Kang
    Nearly free of gore, the film taps into the deep and always welcome vein of the opulently bizarre things that rich, emotionally stunted people get into when they’ve got too much money. Stacey Menear’s script is careful and clever about revealing what Brahms really is, for he’s certainly got a mind and will of his own.
    • 21 Metascore
    • 30 Inkoo Kang
    If nothing else, Dirty Grandpa is consistent: it maintains a tone of aggressive charmlessness from start to finish.
    • 22 Metascore
    • 30 Inkoo Kang
    The Masked Saint didn’t screen for critics, but it’s no worse than any other faith-based film, which as a canon tends to sacrifice story for the sermon. A movie that can finally combine the two — now that’d be a miracle worth beholding.
    • 48 Metascore
    • 45 Inkoo Kang
    In terms of anything that has to do with characterization, Chuck Hogan‘s script is punishingly rote. But as bombastic, shoot-‘em-up spectacle, 13 Hours is a visceral, well-paced and often beautiful action-thriller.
    • 64 Metascore
    • 30 Inkoo Kang
    American exceptionalism certainly deserves to be deconstructed, but that can most assuredly be accomplished with a lot more nuance than it is here. As an exercise in liberal self-flagellation, hey, whatever floats your boat. But as a political call-to-arms, I believe in America: We can do better.
    • 89 Metascore
    • 100 Inkoo Kang
    It’s that devotion to truth that makes Son of Saul such a difficult watch — and also one of year’s most important masterpieces.
    • 33 Metascore
    • 20 Inkoo Kang
    Failing almost entirely at amusement, “The Road Chip” may be most useful as a lesson for children to be more discerning about their movie choices.
    • 71 Metascore
    • 95 Inkoo Kang
    Fassbender manages to find the psychological throughline that makes Macbeth’s increasing mental deterioration — a development that can feel overly formalistic, not to mention moralistic — wholly convincing.
    • 25 Metascore
    • 10 Inkoo Kang
    It’s as punishingly dull as Sunday-school homework — and just as unnecessary.
    • 42 Metascore
    • 65 Inkoo Kang
    #Horror” is fueled by the despairing fear and misanthropy you can only get from reading needlessly malicious Internet comments. But it’s also made with verve, style, and sparing gore by writer-director (and fashion designer) Tara Subkoff.

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