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 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 38 out of 755
755 movie reviews
    • 49 Metascore
    • 75 Marc Mohan
    Is it a worthwhile movie? Yes, for the most part.
    • 78 Metascore
    • 75 Marc Mohan
    What's different here is the setting: Instead of modern-day misogyny, the heroine of The Last Mistress is up against its 19th-century version.
    • 69 Metascore
    • 75 Marc Mohan
    Yes, a comedy, however dark, about a parent taking advantage of a child's death is a tough sell. But with Williams more restrained and sympathetic than he's been in years (again, faint praise), and a final act that makes up for a ponderous first third, "Dad" shows that it can be done.
    • 79 Metascore
    • 75 Marc Mohan
    Pride should leave audiences smiling and inspired. But it would have been a much more groundbreaking film if it had been released 30 years ago.
    • 70 Metascore
    • 75 Marc Mohan
    It's not without one or two missteps, but remains likely the most impressive juvenile acting you'll see this year.
    • 71 Metascore
    • 75 Marc Mohan
    A decent-enough treat for fans of this particular Gallic genre.
    • 71 Metascore
    • 75 Marc Mohan
    Next Goal Wins isn't the most slickly made documentary, and its chronology can be confusing at times. But, despite a bit of salty language, it's an inspiring, never-say-die chronicle for all ages.
    • 69 Metascore
    • 75 Marc Mohan
    Nothing tops the discussions of mortality between Leary and Ram Dass, during which both of these battered but unbowed explorers of reality come off as nothing less than enlightened.
    • 69 Metascore
    • 75 Marc Mohan
    One man's befuddlement is another's awe at the ineffability of time, and from either perspective, this is a spectacle not soon forgotten, even if never understood.
    • 65 Metascore
    • 75 Marc Mohan
    Despite the mysteries of the plot, a sitcom-style sense of expectation creeps into Saving Face, which sometimes feels comfortable but mostly serves to spotlight the shortcomings in a script that invents compelling characters but doesn't give them much out of the ordinary to do.
    • 68 Metascore
    • 75 Marc Mohan
    Apart from its sociological interest, though, Nathan's film offers the pleasure of some really impressive stunt driving.
    • 64 Metascore
    • 75 Marc Mohan
    What makes Freedom Writers work is the very thing that makes it seem like a drag: predictable inspiration.
    • 64 Metascore
    • 75 Marc Mohan
    Sleeping with Other People turns out to be more entertaining than it sounds. The movie, that is.
    • 56 Metascore
    • 75 Marc Mohan
    A moderately enchanting, sometimes thought-provoking corrective to the flaws in the story that inspired it.
    • 56 Metascore
    • 75 Marc Mohan
    The movie knows enough, most of the time, to just let the funny people be funny.
    • 84 Metascore
    • 75 Marc Mohan
    It may not be the most memorable saga put on film, but as far as Miike is concerned, it doesn't have to be.
    • 79 Metascore
    • 75 Marc Mohan
    Youth may be wasted on some of the young, but the two aspiring Norwegian novelists at the center of Reprise, director Joachim Trier's debut feature, try desperately to avoid that particular cliche.
    • 70 Metascore
    • 75 Marc Mohan
    Just because others bear blame for what went on doesn't mean they bore none, and while the deal they got was raw, they never lacked the ability to say no.
    • 51 Metascore
    • 75 Marc Mohan
    It's not a five star film, but it's no Motel 6 either.
    • 57 Metascore
    • 75 Marc Mohan
    Life Partners may be a dispensable sitcom of a movie, but it's charming and cannily made.
    • 68 Metascore
    • 75 Marc Mohan
    The fascinating tale of master forger Mark Landis is especially bizarre, mostly because it doesn't involve the commission of a crime.
    • 46 Metascore
    • 75 Marc Mohan
    An action film without a completely empty head, and these days, that's as rare as Excalibur itself.
    • 58 Metascore
    • 75 Marc Mohan
    Significantly cleverer than its moniker, even though it picks for its satire one of the most inviting targets on record: the world of contemporary art.
    • 63 Metascore
    • 75 Marc Mohan
    Laggies doesn't reinvent the wheel, but it puts an engaging spin on the old canard about high school being the best years of our lives.
    • 47 Metascore
    • 75 Marc Mohan
    Overall, Luther does a satisfying job of restoring humanity to a woodcut icon.
    • 51 Metascore
    • 75 Marc Mohan
    This 90-minute exploration of the myriad ways Lego is great suffers from a relentlessly annoying narrator and a punishingly peppy tone. Still, if you're an AFOL—that is, an Adult Fan of Lego — or even a KFOL — you can figure that one out, right?—there's plenty to make it worth your while. If you're not, don't bother.
    • 58 Metascore
    • 75 Marc Mohan
    Remarkable, unheralded story.
    • 57 Metascore
    • 75 Marc Mohan
    A sometimes very funny movie made by very funny people.
    • 71 Metascore
    • 75 Marc Mohan
    An enjoyable sojourn into the world of Dickens and could inspire a trend. Shakespeare and Austen have had their Hollywood moments during the past few years; why not the proto-Hollywood Dickens?
    • 76 Metascore
    • 75 Marc Mohan
    Giamatti, in fact, makes off with a few scenes as the literally mustache-twirling antagonist, providing some welcome moments of over-the-top levity.
    • 67 Metascore
    • 75 Marc Mohan
    There will always be plenty of fictional geniuses solving impossible crimes, but Holmes, it turns out, it where the heart is.
    • 62 Metascore
    • 75 Marc Mohan
    A mordant, almost-too-dark comedy, but a comedy nonetheless.
    • 82 Metascore
    • 75 Marc Mohan
    It's visually appealing, but embodies the movie's (and Frances') problem: wanting to be taken seriously without putting in the real work required to prove you're actually serious.
    • 67 Metascore
    • 67 Marc Mohan
    Zach Braff has come up with a charming, funny, melancholy ode to twentysomething angst.
    • 58 Metascore
    • 67 Marc Mohan
    The film paints a by now familiar picture of suburbia as a pit of dysfunction, though some nice dark-humored moments and generally fine performances make up for a lot.
    • 56 Metascore
    • 67 Marc Mohan
    Bottle Shock never quite connects. And considering the more recent transformation of Napa, the movie's triumphant ending rings a bit false.
    • 57 Metascore
    • 67 Marc Mohan
    The movie is well-crafted and finely acted (including by the non-actors László and András Gyémánt as the creepy, affectless twins), but it never comes up with a new way to communicate its sadly familiar themes.
    • 58 Metascore
    • 67 Marc Mohan
    Overall, the trip successfully embodies the spirit of the original Magic Bus man, Ken Kesey, whom these modern-day pranksters visit in a poignant scene filmed just months before his death.
    • 66 Metascore
    • 67 Marc Mohan
    Some of the dwarves have nice individual moments, namely Balin (Ken Stott), Bofur (James Nesbitt), and Kili (Aidan Turner), and Gandalf gets to throw some potent magic around at Dol Guldur. But other than that (and the dragon itself), The Desolation of Smaug turns to be more of too much of a good thing.
    • 41 Metascore
    • 67 Marc Mohan
    The movie is simple fun.
    • 58 Metascore
    • 67 Marc Mohan
    Lyrical and gorgeous, it indulges in enough trademark Malickian touches to seem almost a parody of itself.
    • 66 Metascore
    • 67 Marc Mohan
    A solid, twisting, well-acted mystery, but it strains credulity at times, and its ultimate revelations are unsurprising and, when you think back on the whole film, confusing. It also lacks a distinctive atmosphere, shot in an almost TV-style flatness.
    • 56 Metascore
    • 67 Marc Mohan
    As is, it's a pleasant but unremarkable retelling of a story as old as the Dead Sea itself.
    • 63 Metascore
    • 67 Marc Mohan
    Like last year’s vaguely similar “Killing Them Softly,” “Furnace” reeks of '70s-inspired, downbeat, politically conscious genre filmmaking. And its cast is composed of hard-working, seemingly omnipresent actors who understand what Cooper’s after.
    • 64 Metascore
    • 67 Marc Mohan
    For those to whom life is but a stage, this will be sweet, sweet candy; to those of us destined to be their audience, it's a satisfying, if flawed, look behind the curtain.
    • 68 Metascore
    • 67 Marc Mohan
    Caro stumbles in a couple ways. By flashing forward throughout the film to scenes of the climactic courtroom showdown, she blunts the story's dramatic impact.
    • 55 Metascore
    • 67 Marc Mohan
    They could have made a harder-hitting, more realistic film, but then no one would have gone to see it.
    • 75 Metascore
    • 67 Marc Mohan
    It's not a question of Lucas' right to revamp his own work -- the movie simply was much better without these absurd additions.
    • 59 Metascore
    • 67 Marc Mohan
    This gritty take on Grimm's suffers from mannered supporting performances and an inconsistent level of realism.
    • 50 Metascore
    • 67 Marc Mohan
    The result is an uneasy mix of social-issue realism and escapist excitement that's ultimately disposable.
    • 75 Metascore
    • 67 Marc Mohan
    Spy
    Some of the combat scenes work, including a kitchen-set hand-to-hand battle that's one of the movie's highlights, but more often they feel superfluous at best.
    • 61 Metascore
    • 67 Marc Mohan
    The good news is that this movie is no "Spanglish;" the bad news is that Sandler's performance is actually better than the material deserves.
    • 62 Metascore
    • 67 Marc Mohan
    Ultimately, though, it's unfortunate that the movie tries to make so many oblique comparisons to more modern tragedy (paparazzi with sketchbooks; yes, we get it!), since Georgiana's life seems fascinating enough on its own.
    • 45 Metascore
    • 67 Marc Mohan
    It's a refreshingly human-scale saga.
    • 50 Metascore
    • 67 Marc Mohan
    Dedication would've been better if it had stuck to its disreputable guns instead of going all mushy and predictable, and slathering an emo soundtrack over everything.
    • 61 Metascore
    • 67 Marc Mohan
    By combining formulaic screenwriting and downbeat art house clichés, the ending puts a significant damper on what had been a fascinating character study.
    • 69 Metascore
    • 67 Marc Mohan
    Provides adventure and humor in sufficient spoonfuls to make its pro-environment medicine go down smoothly for the target audience of grade-schoolers.
    • Portland Oregonian
    • 61 Metascore
    • 67 Marc Mohan
    Once the story proper begins, it too feels slightly out of time.
    • 41 Metascore
    • 67 Marc Mohan
    With a titanium body and a child's mind, Chappie is a fascinating figure, vividly rendered, enough so that you wish there was a better movie around him.
    • 72 Metascore
    • 67 Marc Mohan
    Despite convincing work from its cast, the movie remains oddly uninvolving.
    • 56 Metascore
    • 67 Marc Mohan
    Joy
    An inspirational, and mostly entertaining, saga, Joy is a Horatio Alger story for the 21st century — but who reads those anymore?
    • 77 Metascore
    • 67 Marc Mohan
    A Band Called Death is more effective as a chronicle of the intensely close relationship between three musically ambitious brothers than as proto-punk archaeology.
    • 37 Metascore
    • 67 Marc Mohan
    Comes up with some decent jokes, including a talking car-based GPS system which doubles as a therapist, and a suggestive Yonica number titled "I Want to Blow You Up," but fails to surround them with a compelling story or characters who rise above the level of cliche.
    • 43 Metascore
    • 67 Marc Mohan
    When characters are required to grow old over the course of a decades-spanning story, as in Love in the Time of Cholera, it's still a hit-or-miss proposition whether the combination of makeup and performance skills will convince us that a character is 40 years older than the actor.
    • 39 Metascore
    • 67 Marc Mohan
    Theron makes Libby a bristling, emotionally crippled live wire, her anger, guilt, and distrust bubbling to the surface with the slightest provocation. She's neither quite as fascinating nor nearly as despicable a character as "Gone Girl"'s Amazing Amy, but director Gilles Paquet-Brenner is no David Fincher.
    • 55 Metascore
    • 67 Marc Mohan
    But if the notion that Austen was more reactive than creative in her writing is troubling, so is the idea that she needed Lefroy to make her into a great writer. "Experience is vital," he tells her. We should be glad this guy never got his paws on Emily Dickinson.
    • 54 Metascore
    • 67 Marc Mohan
    The characters are flat, too: Richard Gere plays your typical desperate, embittered war reporter; Terrence Howard is your typical cameraman/sidekick/narrator; and Jesse Eisenberg rounds out the standard-issue trio as your typical nervous rookie, in over his head.
    • 48 Metascore
    • 67 Marc Mohan
    Reese Witherspoon, whose production company made Penelope, contributes an inflated cameo that feels forced.
    • 53 Metascore
    • 67 Marc Mohan
    In addition to the slick but generic computer animation, it's also got an A-list voice cast: Nicolas Cage as Dr. Tenma, the grieving inventor, and Donald Sutherland as a scheming politician.
    • 80 Metascore
    • 67 Marc Mohan
    Only in the slightly overlong last act, as the family's misfortunes become truly existential, does director Kiyoshi Kurosawa take things to another level. Whether this is an extension of the film's social criticism, a comment on the absurdity of melodrama or straightforward audience manipulation, is anyone's guess.
    • 59 Metascore
    • 67 Marc Mohan
    The Railway Man wants to be two or three different movies wrapped up in one and ends up being a fairly mediocre version of each.
    • 47 Metascore
    • 67 Marc Mohan
    Delivers the expected thrills and groans.
    • 59 Metascore
    • 67 Marc Mohan
    Sayles has always had a gift for female characters, and Go for Sisters features a couple of good ones.
    • 48 Metascore
    • 67 Marc Mohan
    The weirdly earnest literalism of Besson's story is a weak point. His desire to make Angela satisfy both sides of the Madonna-whore complex is too blatant.
    • 59 Metascore
    • 67 Marc Mohan
    There are laughs to be found, as unfiltered improvisations on subjects such as Viagra, home electronics, pot cookies and the end of "Lost" come fast and furious.
    • 66 Metascore
    • 67 Marc Mohan
    The actions of both these vilified parties are so seemingly irrational that you're left feeling there must be some explanation, one that director Todd Douglas Miller either couldn't or wouldn't ferret out.
    • 54 Metascore
    • 67 Marc Mohan
    As a hypothetical, all-access documentary about the kookiest day in draft history, it's oddly satisfying, maybe because watching the actual, bloated spectacle (scheduled this year for May 8) is so often underwhelming.
    • 60 Metascore
    • 67 Marc Mohan
    Christensen, who played the James Bond villain Mr. White in "Casino Royale" and "Quantum of Solace," cuts a striking, white-haired figure as Segerstedt, whose principled tirades against Hitler ultimately earn him the enmity of his prime minster and even his king.
    • 54 Metascore
    • 67 Marc Mohan
    Paper Heart isn't the most cloying instance of earnest indie quirk to emerge in the past few months, nor is it the most charming, but the mere fact that such a continuum exists is reason enough to worry.
    • 72 Metascore
    • 67 Marc Mohan
    While In Bloom offers an authentic slice of life from a particular time and place, it never gets close enough to its characters, physically or emotionally, to really hit home.
    • 48 Metascore
    • 67 Marc Mohan
    The ensuing love triangle culminates in a frankly loopy finale that tarnishes the film's earlier insights and ensures that it will be only remembered for some hot and heavy bedroom scenes.
    • 69 Metascore
    • 67 Marc Mohan
    In trying to make Kalmen's story unique, the film inadvertently exposes him as the most typical sufferer of midlife crises you could imagine.
    • 45 Metascore
    • 67 Marc Mohan
    The line between fearlessness and idiocy can be a thin one, especially in this sport, and the doc never gets too far under Way's skin. But when he soars -- on a skateboard! -- above the massive structure that kept invading armies at bay for centuries, it's pretty darn cool.
    • 40 Metascore
    • 67 Marc Mohan
    The one unforgivable crime committed in this remake is the lack of the original's most famous line of dialogue: "Klaatu barada nikto." Would it have been so tough to squeeze that in somewhere?
    • 32 Metascore
    • 67 Marc Mohan
    Charles Grodin, in his first film in a dozen years, provides some of the best moments as Sofia's dad, while Mia Farrow is kind of creepy as her mom.
    • 65 Metascore
    • 67 Marc Mohan
    Though its characters aren't terribly complex, and its plot holds few surprises, the screenplay (in English, German, and Hebrew) amounts to a worthy treatise on the need to forgo revenge.
    • 61 Metascore
    • 67 Marc Mohan
    Israeli society is one that has ample experience processing grief, and Nina's Tragedies explores that challenge with humanity and humor.
    • 55 Metascore
    • 67 Marc Mohan
    There's fun to be had in the re-creation of indelible screen moments, including several with Scarlett Johansson as Janet Leigh and James D'Arcy as Anthony Perkins.
    • 72 Metascore
    • 67 Marc Mohan
    There's much to admire here, but less to like.
    • 68 Metascore
    • 67 Marc Mohan
    The East never goes as deep undercover as it should.
    • 57 Metascore
    • 67 Marc Mohan
    Overall, there's a patchwork quality to the movie, as if a batch of half-finished short stories were filmed before their time.
    • 60 Metascore
    • 67 Marc Mohan
    The quality that made her an ideal fan club president makes her an endearing, if unenlightening, interviewee.
    • 46 Metascore
    • 67 Marc Mohan
    A misfire, but a misfire from von Trier is still more interesting than a blandly successful Hollywood product.
    • 74 Metascore
    • 67 Marc Mohan
    It’s disappointing that, with such talent and seriousness of intent, the movie ultimately doesn't have much new to say. To paraphrase “The Simpsons”’ Milhouse, it started out like "Bonnie and Clyde," but instead it ended in tragedy.
    • 74 Metascore
    • 67 Marc Mohan
    The performances are solid and subtle, with Depardieu growing nicely into the brooding, smarter-than-he-looks roles his father tackled for years.
    • 70 Metascore
    • 67 Marc Mohan
    Someone should send him (Kerry) a copy, if only to remind the senator of the days when he was willing and able to speak with the courage of his convictions, and when he had a lot less to lose.
    • 55 Metascore
    • 67 Marc Mohan
    More convincing are the performances from Jenkins and Allison Janney, as another of Jesse's old profs. Both these pros bring more depth to their supporting characters than either of the promising, but, alas, young, leads do to theirs.
    • 76 Metascore
    • 67 Marc Mohan
    Like Someone in Love meanders with intention toward a bittersweet resolution, but then pulls the rug out from under you in a cruelly ambiguous shot.
    • 70 Metascore
    • 67 Marc Mohan
    The environment is one of unrelenting cruelty and misanthropy, which certainly brings out the novel's darker themes, but can be something of a slog to watch.
    • 75 Metascore
    • 67 Marc Mohan
    Fiennes and screenwriter Abi Morgan deserve credit for crafting something more nuanced than a mere scandal-airing demonization.

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