For 168 reviews, this critic has graded:
  • 41% higher than the average critic
  • 8% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 6.8 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 It Felt Like Love
Lowest review score: 10 Ghost Team One
Score distribution:
  1. Positive: 55 out of 168
  2. Negative: 41 out of 168
168 movie reviews
    • 50 Metascore
    • 50 Inkoo Kang
    Those who believe weddings to be exorbitant, empty spectacles have a fair-weather friend in writer-director Victor Quinaz, whose inventive debut, Breakup at a Wedding, attempts an aloof, smirking pose but surrenders to sentimentality in the end.
    • 40 Metascore
    • 50 Inkoo Kang
    Never feels as triumphant or as affecting as it should, but the script boasts some amusing meanness of spirit.
    • 68 Metascore
    • 50 Inkoo Kang
    If Bound by Flesh sorely lacks the perspective of the physically atypical community, it's at least a fascinating look at the transformations in the entertainment industry in the last century.
    • 46 Metascore
    • 50 Inkoo Kang
    Flat jokes, uneven performances, and a predictable romance help make Bounty Killer a lot less fun than it should be — a killer shame, given its boldly gonzo premise.
    • 44 Metascore
    • 50 Inkoo Kang
    Ray Ray's belated journey into manhood never feels sentimental or precious. But it also never strikes an emotional tone that's more than blandly agreeable.
    • 64 Metascore
    • 50 Inkoo Kang
    The film offers disappointingly little insight into the music itself.
    • 60 Metascore
    • 50 Inkoo Kang
    +1
    In trying to say everything, Plus One reveals it doesn't have much to say at all.
    • 42 Metascore
    • 50 Inkoo Kang
    The genre elements of the romantic comedy Wedding Palace attempt a transpacific transit, but get lost in translation.
    • 56 Metascore
    • 50 Inkoo Kang
    Chen's excessive propriety veers treacherously close to barely disguised repulsion.
    • 57 Metascore
    • 50 Inkoo Kang
    The emotional moments never land.
    • 45 Metascore
    • 50 Inkoo Kang
    In adapting Dean Koontz's series, Sommers nails the hero but bungles the world-building.
    • 51 Metascore
    • 50 Inkoo Kang
    Director Peggy Holmes' glittery romp offers plenty of pretty spectacles, but true flights of fancy... are far too rare.
    • 41 Metascore
    • 50 Inkoo Kang
    Garriga aims for depth in the third act, contextualizing religious conservatism as a reaction against the social revolutions of the 1960s. But the reduction of Christianity into just another political group feels like a dilution, a conversion of wine into water.
    • 59 Metascore
    • 50 Inkoo Kang
    Writer-director Terry Miles' revisionist homage is a thoughtful thesis on the melodrama but a letdown in its attempt to serve as an affecting example of that genre.
    • 47 Metascore
    • 50 Inkoo Kang
    Wallace smartly leaves room for skeptics of Burpo's account to maintain their doubt; what matters most is that audiences understand the film character's reasons for choosing to believe his son's vision/dream/delirium.
    • 31 Metascore
    • 50 Inkoo Kang
    Blended director Frank Coraci, a Happy Madison vet, is too much of a company man to elevate this passion-phobic rom-com beyond something more than an above-average Sandler production.
    • 84 Metascore
    • 50 Inkoo Kang
    In superlative previous films like “The Host” and “Mother,” Bong elevated, then transcended, the humble genres of the monster movie and the murder mystery by refashioning them into exquisitely heart-wrenching human drama. Disappointingly, then, his alchemical touch is absent here. Snowpiercer warms the heart, but doesn't penetrate it.
    • 43 Metascore
    • 50 Inkoo Kang
    The death- and religion-obsessed Wish I Was Here is such a manifestly personal project that it's a shame it isn't even more idiosyncratic.
    • 50 Metascore
    • 50 Inkoo Kang
    Ultimately, “Anarchy” is too cartoonish in its politics to gain the allegorical resonance it clearly strives for — and worse yet, it's just no fun.
    • 47 Metascore
    • 50 Inkoo Kang
    The Giver is an anti-totalitarian allegory so farcically hyperbolic it feels like only a teenager could have come up with it.
    • 50 Metascore
    • 50 Inkoo Kang
    There are too few real humans in Life After Beth, resulting in a lack of both brains and heart.
    • 83 Metascore
    • 50 Inkoo Kang
    Love is Strange boasts an abundance of patience and kindness — but not much of a pulse.
    • 67 Metascore
    • 50 Inkoo Kang
    They're thematically richer and more tonally cohesive than their hybrid. But because the two films are so similar to one another, they fail to deliver on the promise of their unique structure, rendering the “he said, she said” complementary design of the two films a dull, self-indulgent gimmick.
    • 63 Metascore
    • 50 Inkoo Kang
    The thing that catastrophically sinks “Him” – or “Her,” if that's the film you see second – is that the two films are enough alike that sitting through the second immediately after the first is a slog.
    • 48 Metascore
    • 50 Inkoo Kang
    The Judge is tailor-made for Downey's gift for delivering a quippy, arrogant put-down like he's doing his target a favor. Hank's anti-heroism is a refreshing splash of lemon juice with an occasional spritz of sour vinegar. But much of director David Dobkin‘s cynically cloying legal and family drama goes down like a lump of aspartame.
    • 50 Metascore
    • 50 Inkoo Kang
    The film largely squanders Woodley's considerable talents by having her talking about (but never showing us) the numb but open wound that is Kat's relationship with her mother. More disappointingly, the film never figures out how to translate Kat's lack of emotion into something that makes us feel anything other than distant pity.
    • 61 Metascore
    • 40 Inkoo Kang
    The Kings of Summer plays like an extended sitcom episode, and not a very special one at that.
    • 36 Metascore
    • 40 Inkoo Kang
    The raunchy, feminist-revenge jokes are the best part of this feel-good, you-go-ladies sports comedy.
    • 51 Metascore
    • 40 Inkoo Kang
    It contains more praise than insights, and, chopped into several sections, the documentary could easily become a series of featurettes in the "Extras" section of an American Idiot DVD. Yet Green Day frontman Billie Joe Armstrong still commands the screen.
    • 38 Metascore
    • 40 Inkoo Kang
    False gravity weighs down 2 Jacks, a father-son drama less interested in exploring familial relations than in tut-tutting the millennials.