For 288 reviews, this critic has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 8.3 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: 72 out of 288
288 movie reviews
    • 77 Metascore
    • 85 Inkoo Kang
    A timely, thorough and truly inspiring documentary about the financial and marketing imperatives that lead academic institutions to deny their students safety and justice.
    • 55 Metascore
    • 75 Inkoo Kang
    Drunktown’s Finest shouldn’t be viewed simply as an anthropological curiosity, though, but as the promising debut of a gifted filmmaker who wants to show the beating and hurting hearts of the people behind the headlines.
    • 56 Metascore
    • 90 Inkoo Kang
    There’s no doubt that The DUFF is clever, funny and quotable enough to become this decade’s “Mean Girls.” Watch your back, Regina George — there’s a new queen bee in town.
    • 51 Metascore
    • 70 Inkoo Kang
    This switching-places comedy warmly and trenchantly sends up the telenovela genre’s swooning melodrama and oversexed-but-prudish contradictions.
    • 60 Metascore
    • 30 Inkoo Kang
    Without that emotional groundwork to establish the contours of Cathy and Jamie’s relationship, “The Last Five Years” is largely a numbing experience.
    • 46 Metascore
    • 65 Inkoo Kang
    Starring a vivacious Dakota Johnson and a game Jamie Dornan, Taylor-Johnson’s erotic romance is a skillful distillation of James’ first book that captures the heady exhilaration of being someone’s fixation.
    • 44 Metascore
    • 30 Inkoo Kang
    A misguided attempt to spin a nightmare scenario into a cutesy rom-com premise, this British production takes place in a harrowingly claustrophobic world where personal growth ends at age 18, and you meet everyone you’ll ever become friends with in your whole life during high school.
    • 85 Metascore
    • 70 Inkoo Kang
    Save for a few standout scenes of carefree elation and daring camaraderie, Girlhood is largely a grim and stilted study of oppression.
    • 49 Metascore
    • 70 Inkoo Kang
    A thoughtful and frequently moving drama that insightfully illuminates what it’s like to live with illness and agony at least as well as last year’s other Best Actress vehicles like “Wild,” “Still Alice,” and “Two Days, One Night” do.
    • 83 Metascore
    • 80 Inkoo Kang
    Red Army is a thoughtful and cheer-worthy examination of how sports can shape cultures, redraw borders and change history.
    • 57 Metascore
    • 70 Inkoo Kang
    Despite stilted camerawork often locked in the medium shot, Salvation Army is a touching ode to the freedom to finally be who we want to be — if we can ever find where we belong.
    • 30 Metascore
    • 30 Inkoo Kang
    Neither good nor bad, nor campy nor scary enough to be in any way memorable, The Boy Next Door is a lot like our own neighbors, just there. You could make the effort to sneak a peek, but it probably wouldn’t be worth your while.
    • 73 Metascore
    • 90 Inkoo Kang
    Unabashedly truthful and restlessly intelligent, Akhavan’s remarkable, near-perfect debut has wit and charisma to spare. Miss it at your own risk.
    • 56 Metascore
    • 30 Inkoo Kang
    The writer-director never finds a coherent point of view (or a way out of Strindberg’s three-wall play structure), and Miss Julie ends up merely a whirlwind of moods without a center, as changeable and as random as a TV flipping channels.
    • tbd Metascore
    • 30 Inkoo Kang
    A timid and slapdash musical.
    • 33 Metascore
    • 50 Inkoo Kang
    No amount of self-referential jokes can make up for a lack of heart and spirit. Thankfully, Annie lacks neither.
    • 34 Metascore
    • 30 Inkoo Kang
    Franco is a fine reader, but ultimately the film adds little more than his handsome face and trite confessional origins to Williams's experiential vernacular. When the words are so direct, powerful, and inviting, who needs Franco's books on video?
    • 45 Metascore
    • 30 Inkoo Kang
    By the film's end, Black or White raises only one question: Is its racial-baiting disingenuous or oblivious?
    • 57 Metascore
    • 40 Inkoo Kang
    A waxen falseness suffuses the stilted, stubbornly generic picture, from the casting to the humor to the lesbian-friendly milieu. Like the fast-food mozzarella sticks one of the characters devours in moments of existential woe, it feels like a calculated imitation rather than the real thing.
    • 59 Metascore
    • 40 Inkoo Kang
    The 144-minute running time showcases Jackson's worst tendencies: eons-long battle scenes, sloppy and abrupt resolutions, portentous romances, off-rhythm comic timing, and, newly in this case, patience-testing fan service.
    • 73 Metascore
    • 60 Inkoo Kang
    The romance of patriotism and pain, depicted here in lush greens and velvety blues, makes “The Imitation Game” enjoyable enough to render it a vindication of the formula. It disappoints as biography, but makes for a great yarn, even if you've heard it before.
    • 86 Metascore
    • 90 Inkoo Kang
    The Babadook is the rare horror tale that's also a triumph of empathy.
    • 68 Metascore
    • 80 Inkoo Kang
    Jones’ riveting Western is bleak and very nearly misanthropic, but it's also passionate, earthy, unpredictable, sensitive, and gloriously distinct.
    • 62 Metascore
    • 80 Inkoo Kang
    Especially in a year so devoid of serious female-led dramas, it's invigorating to see a feminist crowd-pleaser with the force of moral righteousness on its side. But Big Eyes is good, not great. What keeps it from excellence is its reluctance to explore the very questions it raises.
    • 36 Metascore
    • 50 Inkoo Kang
    The visuals remain homely and brutally efficient, the plot convoluted but the pacing brisk, and the humor often inventive and resourceful — and just as often tired or offensive (to women, people of color, gays and lesbians, old people, take your pick).
    • 53 Metascore
    • 30 Inkoo Kang
    The unfunny, unmoving, and uninspired Penguins never persuades us of its need to exist. Sure, there's a muddled lesson at the end, as tacked on as a Post-It on a piece of week-old cake.
    • 72 Metascore
    • 40 Inkoo Kang
    Director Clint Eastwood‘s focus on Kyle is so tight that no other character, including wife Taya (Sienna Miller), comes through as a person, and the scope so narrow that the film engages only superficially with the many moral issues surrounding the Iraq War.
    • 71 Metascore
    • 75 Inkoo Kang
    Admirable throughout is the balance that Ribeiro strikes between dewy eroticism and the contextualization of sexuality as just a single aspect of one's identity, albeit an essential one.
    • 37 Metascore
    • 30 Inkoo Kang
    Unfortunately, it's just when Jessabelle looks like it might transcend its haunted-house trappings that the Southern Gothic clichés rear their tortured, screaming heads.
    • 76 Metascore
    • 85 Inkoo Kang
    The dramatic weight loss Gyllenhaal endured for the role, which transforms his dreamboat looks into a bat-like mask, is startling. But the actor's performance is just as impressive, nimbly selling Gilroy's occasionally overwritten lines while Louis’ punishing optimism finds new gradations of sadism and rage. Nightcrawler is the arrival of a thrilling character actor.

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