For 755 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 7.1 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Hunger
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 38 out of 755
755 movie reviews
    • 69 Metascore
    • 58 Marc Mohan
    It's neither grounded enough to be genuinely horrifying nor over the top enough to be nastily fun.
    • 56 Metascore
    • 58 Marc Mohan
    The plot, as hinted, goes strictly by the "How April Got Her Groove Back" book, but it must be said that the performances push it a notch above pedestrian.
    • 57 Metascore
    • 58 Marc Mohan
    The ensemble can't bring enough, though, to overcome the unoriginal setup and predictable story arc.
    • 56 Metascore
    • 58 Marc Mohan
    The only problem is that he's been such a shallow, ridiculous figure that exhuming any real sympathy for the guy is a Herculean task.
    • 53 Metascore
    • 58 Marc Mohan
    Moderately amusing.
    • 55 Metascore
    • 58 Marc Mohan
    If the two most gorgeous people in the world alternately bantering and making out isn't enough to compel the attention of the average American moviegoer, then we are truly doomed.
    • 47 Metascore
    • 58 Marc Mohan
    If the title hadn't already been taken by another equally strained recent comedy, the new Kevin Costner vehicle could have been dubbed "Idiocracy."
    • 65 Metascore
    • 58 Marc Mohan
    Whereas Carver writes about alcoholics, this movie is about alcoholism, which is completely different.
    • 42 Metascore
    • 58 Marc Mohan
    A thoroughly mundane experience.
    • 30 Metascore
    • 58 Marc Mohan
    Isn't a complete waste of time. If Kutcher seeks to transition from national joke to lightweight actor, he's made a decent stab at it.
    • 41 Metascore
    • 58 Marc Mohan
    Perhaps the most curious omission from the movie Grassroots is that there's no mention at all of the classic "Simpsons" episode "Marge vs. the Monorail."
    • 63 Metascore
    • 58 Marc Mohan
    Made with a slapdash non-style that doesn't seem quite lame enough to have been intentional, this aptly titled low-budget horror comedy serves up tame amounts of both guts and gut-busters.
    • 65 Metascore
    • 58 Marc Mohan
    Ultimately, the movie takes its characters, and the absurd ethical dilemma it subjects them to, far too seriously.
    • 51 Metascore
    • 58 Marc Mohan
    It's a shame that a movie centered on such a powerful and unique work of art is itself so obviously a corporate product.
    • 68 Metascore
    • 58 Marc Mohan
    There are some attempts at a comic-bookish, film noir vibe, including a hotel where all the crooks and killers stay, forbidden by house rules from "doing business"on the premises. And everywhere Keanu turns, he bumps into a character from HBO.
    • 71 Metascore
    • 58 Marc Mohan
    A rather schizophrenic comedy that gives respected performers Dame Judi Dench and Bob Hoskins a chance to show they don't take themselves too seriously.
    • 57 Metascore
    • 58 Marc Mohan
    The relationship between Trishna and Jay never rings as true as it needs to for the downbeat third act to resonate the way it was presumably intended to do.
    • 63 Metascore
    • 58 Marc Mohan
    Papale's story is more than any fan could dream of, which is why it's frustrating that Invincible feels the need to embellish it. While mentioning he never played football in college, the film ignores that he did play in a semipro league prior to his Eagles tryout.
    • 36 Metascore
    • 58 Marc Mohan
    Pan
    It's not that Pan isn't entertaining. There's plenty of color and action and some inventive 3-D effects. Jackman's unhinged performance is either gloriously great or gloriously terrible, but captivating either way. There's no magic, though.
    • 63 Metascore
    • 58 Marc Mohan
    ATL
    Ultimately, ATL is the same old teenager angst in a mildly novel package.
    • 44 Metascore
    • 58 Marc Mohan
    There are plenty of very funny jokes in the movie, but near-fatal lulls whenever it tries to make MacFarlane into a romantic lead or a genuinely inspiring hero — in other words, whenever it tries to make us like him.
    • 66 Metascore
    • 58 Marc Mohan
    Crimson Peak ends up feeling like a bit of make-work, a project to keep the visionary filmmaker busy until something that truly sparks his passion comes along.
    • 44 Metascore
    • 58 Marc Mohan
    It's beautifully photographed, but pretentious, overlong and trite.
    • 54 Metascore
    • 58 Marc Mohan
    Stage magicians often depend on sleight of hand to succeed at their art, but Woody Allen's new movie, Magic in the Moonlight, is just plain slight.
    • 56 Metascore
    • 58 Marc Mohan
    Harris gamely attacks his tortured, cliche-ridden character, but Deschanel, so likably offbeat in "All the Real Girls" and "The Hitchhiker's Guide to the Galaxy," comes off as just plain annoying and self-centered.
    • 51 Metascore
    • 58 Marc Mohan
    Free Zone is similar to the car-based films of Iranian filmmaker Abbas Kiarostami but with a more improvised, less-finished feel.
    • 53 Metascore
    • 58 Marc Mohan
    It's not a political film, but it's also not a bland recitation of homilies about the honor of serving one's country. It's a jokey road movie, in which three soldiers heading home from Iraq are forced into a cross-country van ride together.
    • 49 Metascore
    • 58 Marc Mohan
    You never really end up rooting for their happiness, as a couple or individually, so emotionally there's not much at stake.
    • 47 Metascore
    • 58 Marc Mohan
    Exploring the possibilities of low-budget digital filmmaking is a worthy endeavor, but November is a little too in love with the grittiness of it all.
    • 64 Metascore
    • 58 Marc Mohan
    It's a fine idea, but Dominik beats that drum without cease, making his passionately furious message come across anything but softly.
    • 55 Metascore
    • 58 Marc Mohan
    It's not as if empathetic peeks into the lives of America's poor white boys aren't valuable, and Hellion has nothing if not empathy for every one of its characters. But without a more original story or a distinctive visual presence, it's hard for it to rise above a crowded field.
    • 42 Metascore
    • 58 Marc Mohan
    Not content to make his point through sharp-tongued comedy, Hogan ends up beating a dead horse -- or shark, as the case may be.
    • 62 Metascore
    • 58 Marc Mohan
    It's just a shame that the search for the missing formula ends up feeling so formulaic.
    • 38 Metascore
    • 58 Marc Mohan
    Terminator: Genisys isn't so much a sequel or a reboot but a piece of fan fiction come to ludicrous, big-budget life. Even for an unnecessary entry in a series of movies about indestructible time-traveling robots and genocidal computer networks, it's pretty silly.
    • 60 Metascore
    • 58 Marc Mohan
    What could have been a complex portrait of a flawed man dealing with the perils of success ends up far less interesting.
    • 64 Metascore
    • 58 Marc Mohan
    Once all the pieces of the story are assembled, the whole thing turns out to be not that big of a deal.
    • 50 Metascore
    • 58 Marc Mohan
    The movie's conceit grows a bit stale even with a short running time, and ultimately the whole thing feels more like an acting workshop than a full-fledged human story.
    • 35 Metascore
    • 58 Marc Mohan
    It devolves too often into slapstick shenanigans and comedy of embarrassment.
    • 57 Metascore
    • 58 Marc Mohan
    No matter how noble, not everyone's life should be made into a movie.
    • 47 Metascore
    • 58 Marc Mohan
    The oddball cast, by the way, includes Sonic Youth's Kim Gordon, who is infinitely more convincing speaking Cantonese than she is in her (presumably native) English.
    • 52 Metascore
    • 58 Marc Mohan
    The increasingly unlikely escapades culminate in a finale that's as narratively lazy as it is morally questionable, lending further credence to the voices that proclaimed Haggis absurdly overpraised for the 2004 Oscar-winner "Crash."
    • 77 Metascore
    • 58 Marc Mohan
    It's also exhausting, despite an engaging premise.
    • 66 Metascore
    • 58 Marc Mohan
    The result is a cast of characters who are little better than automatons themselves. This wouldn't be a problem if the rest of the film were as captivating as it was surely meant to be. Instead, the Quays work overtime to make both their story line and images as obscure as possible.
    • 42 Metascore
    • 58 Marc Mohan
    With more discipline and a keener sense of family dysfunction, these ingredients could have gelled into something impressive. As it is, Awful Nice is closer to the former than the latter.
    • 54 Metascore
    • 58 Marc Mohan
    This ode to indie legitimacy proves to be too cartoonish to feel real and not outrageous enough to be memorable.
    • 50 Metascore
    • 58 Marc Mohan
    Although the filmmakers reportedly worked with David Copperfield and other renowned real-life illusionists and tried to minimize the use of CGI, you're still left wondering how much of the magic is merely the kind Hollywood spits out by the terabyte.
    • 44 Metascore
    • 58 Marc Mohan
    Fonda gets some of the movie's best moments as the sexually frank, silicone-enhanced mom who got rich off a best-selling memoir that exposed her children's intimate habits.
    • 61 Metascore
    • 58 Marc Mohan
    Although the primary plot line turns out to be a letdown, there are aspects of The Machinist that redeem it. Bale's performance is one; another is the dull, metallic look of the picture.
    • 76 Metascore
    • 58 Marc Mohan
    Brittain's life and literary output are worthy of celebration, and there's no better time that the centenary of "The War to End All Wars" to commemorate its bloody folly. It's a shame that Testament of Youth does both in such a bloodless way.
    • 56 Metascore
    • 58 Marc Mohan
    Every generation gets the cinematic vampires it deserves...The current decade, judging from the bloodsuckers on display in Twilight, will be remembered as one of guilt, restraint and denial. It's just not that fun to be undead anymore.
    • 45 Metascore
    • 58 Marc Mohan
    Portland's dreary climate is used to good effect, but it's not enough to make up for the director's needlessly convoluted approach.
    • 57 Metascore
    • 58 Marc Mohan
    While it's an effective memoriam for the well-meaning Germans whose lives were ruined by Hitler's mad dream, the refusal of Generation War to focus on any other sort of German makes it both dramatically and historically suspect.
    • 66 Metascore
    • 58 Marc Mohan
    The Bling Ring still feels more like a magazine article overstretched into a feature length film.
    • 49 Metascore
    • 58 Marc Mohan
    In retrospect, and with no disrespect meant, it may have been a mistake to entrust a story this polarizing to Bill Condon, the filmmaker who most recently made “Twilight: Breaking Dawn,” and “Dreamgirls.”
    • 33 Metascore
    • 58 Marc Mohan
    When you have to ask yourself whether this parable is intended as comedic satire or stone-cold-serious moralizing, that's a big sign that you're watching a misfire.
    • 35 Metascore
    • 58 Marc Mohan
    If the plot unfolded in a less formulaic way, this could have been an impressive dark-tinged comedy. But in the end, it's more a case of talented actors trying to find something fresh in a fairly stale tale.
    • 58 Metascore
    • 58 Marc Mohan
    This may have been fertile grounds for satire in 1925, when Noel Coward's drawing-room melodrama Easy Virtue debuted on the stage, but by now this film version feels rather done.
    • 45 Metascore
    • 58 Marc Mohan
    It says a lot about this movie that the most arresting character in it is Mary, whom Morton unsurprisingly endows with a fanatical combination of narcissism and rage.
    • 48 Metascore
    • 58 Marc Mohan
    Lily Tomlin gives the movie a boost as Portia's radical feminist mother, who would hate this movie.
    • 59 Metascore
    • 58 Marc Mohan
    There's a conflict between the film's need for some sort of closure and the messiness of the reality it depicts that leaves The Whistleblower even more unsatisfying than it was meant to be.
    • 54 Metascore
    • 58 Marc Mohan
    So, be warned: You may not learn anything from this mild, unremarkable film, but you might be tempted to order the deluxe, four-volume “The Complete Calvin and Hobbes” after watching it. I was, and I don’t regret it a bit.
    • 47 Metascore
    • 58 Marc Mohan
    It's clear that Fidell meant to craft a nonjudgmental, non-exploitative exploration of this taboo situation. And she deserves credit for avoiding both tawdry melodrama and earnest moralizing. But by refusing to judge or exploit, she ultimately ends up without much of interest to say on the topic.
    • 66 Metascore
    • 58 Marc Mohan
    By trying to inflate one remarkable life story into the chronicle of a generation, Daniels fills what could have been an inspirational, personal saga with a lot of hot air.
    • 59 Metascore
    • 58 Marc Mohan
    Perhaps a better moniker would have been "One Flew Over My Left Foot."
    • 54 Metascore
    • 58 Marc Mohan
    Instead of a unique directorial style and a memorable soundtrack, we get a movie that, visually and aurally, pretty much goes by the book.
    • 61 Metascore
    • 58 Marc Mohan
    There's potential here, as well as in Junn's touching relationship with a fellow resident at the home, for real intensity, but Khaou insists on sticking with a glacial pace and lip-trembling emotional repression when a little bit of melodrama might have gone a long way.
    • 70 Metascore
    • 58 Marc Mohan
    The real star of the film is Horton, whose straight-talking ways and supportive circle of friends are a stark contrast to the haughty insults of academia.
    • 59 Metascore
    • 58 Marc Mohan
    Well-intentioned but underdeveloped and self-satisfied, it feels at times like the ultimate movie for the millennial generation, or at least its stereotype.
    • 40 Metascore
    • 58 Marc Mohan
    Politics and art come together in predictable, moderately enjoyable fashion in Paris 36.
    • 58 Metascore
    • 58 Marc Mohan
    Its smallness of scale, and undemonstrative nature, could make it a welcome change of pace from Hollywood bombast, especially for fans of the life aquatic.
    • 49 Metascore
    • 58 Marc Mohan
    The film never gets beyond Chapman's obsession with "Catcher in the Rye" and a few bits of "Taxi Driver" dialogue to show us anything we didn't already know.
    • 77 Metascore
    • 58 Marc Mohan
    Herzog's drive to bring Dengler's story to a wide audience might have paradoxically caused him to do what he seems normally to abhor: compromise.
    • 72 Metascore
    • 58 Marc Mohan
    If the star does his utmost to make a one-dimensional character interesting, his director, Clint Eastwood, adapts Kyle's memoir — a life story rife with moral complexity — by hammering it flat.
    • 40 Metascore
    • 58 Marc Mohan
    If the behavior of the characters had been more recognizably human in its venality, and the film's perspective more ruthless, this custom-made compound might have worked.
    • 38 Metascore
    • 58 Marc Mohan
    Makes good, unobtrusive use of its European locations, and has a couple of well-orchestrated urban chase scenes. But, even in these days of renewed U.S.-Russian tensions, its Cold War demeanor feels anachronistic, and its simple cynicism comes off as recycled and cheap.
    • 53 Metascore
    • 58 Marc Mohan
    Overall, The Pretty One suffers from excessive, unfocused quirk and a predictable sitcom resolution.
    • 45 Metascore
    • 58 Marc Mohan
    Oscar-winner Davis can maintain her dignity in just about anything, and she almost gives Lila enough depth to be a compelling character. Lopez gets points for trying something a bit more challenging than the hot-for-teacher dreck of "The Boy Next Door," but she inevitably struggles to hit more than one note.
    • 50 Metascore
    • 50 Marc Mohan
    First-time director Jeff Baena struggles with framing, editing, tone and casting, leading to an unimpressive entry in the ever-burgeoning zombie comedy genre.
    • 54 Metascore
    • 50 Marc Mohan
    Blumberg tries to split the difference and ends up with a movie that wants us to make us laugh and cry, but fails to do either.
    • 47 Metascore
    • 50 Marc Mohan
    Worst of all, not once does Mulder answer his cell phone to hear those immortal lines: "It's Scully. There's been another death."
    • 43 Metascore
    • 50 Marc Mohan
    360
    As the action moves from Vienna to Paris to London to Denver to Phoenix and then back again, the vignettes blur into one another.
    • 49 Metascore
    • 50 Marc Mohan
    Although 2012 is what they call "critic-proof," it's not immune to analysis. It depicts a world where no one, man or God, has much say in what happens to the planet, and where the survival of one family outweighs the deaths of billions.
    • 60 Metascore
    • 50 Marc Mohan
    The storyline would appear trite and the message muddled even to someone who'd never heard the name Mel Gibson.
    • 54 Metascore
    • 50 Marc Mohan
    The plot is straight off the shelf, the performances are television-caliber and the message of providing solace through deception is a little creepy. Then again, that formula resulted in record-breaking ticket sales for "Greek Wedding."
    • 52 Metascore
    • 50 Marc Mohan
    A recent article in Film Comment magazine praised Saint Laurent for avoiding "banal psychologizing," but Bonello avoids any insight into his subject's state of mind, banal or not.
    • 34 Metascore
    • 50 Marc Mohan
    It's a forgettable series of bullet points barely strung together by charismatic performances.
    • 65 Metascore
    • 50 Marc Mohan
    The performance of Bening (and, quietly, Irons) keeps Being Julia from being too tiresome.
    • 60 Metascore
    • 50 Marc Mohan
    The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.
    • 57 Metascore
    • 50 Marc Mohan
    As far as the company Redford keeps, I liked it better when he hung out with Paul Newman and Sydney Pollack, but those days are long gone.
    • 57 Metascore
    • 50 Marc Mohan
    Decent performances aside, the only interesting bits involve Geoffrey Rush as a chemistry professor who enables their self-abuse.
    • 45 Metascore
    • 50 Marc Mohan
    The two stories never come close to meshing the way the filmmaker intended. The result is a well-acted movie that simply doesn't gel.
    • Portland Oregonian
    • 69 Metascore
    • 50 Marc Mohan
    There's visual poetry here, in small doses, but it doesn't take long for one's patience to run out.
    • 62 Metascore
    • 50 Marc Mohan
    Unfortunately, the precision and presence Hurt brings to the table aren't enough to carry this warmed-over Southern melodrama.
    • 81 Metascore
    • 50 Marc Mohan
    It wallows in misery so much that the two-hour experience ends up being about as much fun as a real divorce.
    • 56 Metascore
    • 50 Marc Mohan
    Unfortunately, neither of these fascinating artistic giants is given much of a personality.
    • 52 Metascore
    • 50 Marc Mohan
    It's probably not a good idea to examine the political content of a film in which the leader of the free world proves that the pen is mightier than the sword by stabbing someone in the neck with one.
    • 50 Metascore
    • 50 Marc Mohan
    If the filmmakers had opted to play things closer to the vest, this could have been the clever "Pineapple Express"-meets-"The Bourne Identity" mashup it wants to be instead of the shallow, gratuitously violent exercise it actually is.
    • 55 Metascore
    • 50 Marc Mohan
    Man of Steel has too many characters and too much plot, resulting in a movie that feels overstuffed and overlong.
    • 46 Metascore
    • 50 Marc Mohan
    Aselton is clearly trying to broaden her reach as both actress and director beyond the rumpled indie comedy of "The Freebie," her directing debut, and the concept is there, but a movie like this needs a much more polished execution that Black Rock gets.
    • 32 Metascore
    • 50 Marc Mohan
    If Schaefer's intent was to provide some sort of insight into Chapman's character, some hint of explanation for this senseless tragedy, he fails, probably because there's none to be found beyond one lonely guy's addled brain chemistry.

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