For 756 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 6.6 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Act of Killing
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 39 out of 756
756 movie reviews
    • 81 Metascore
    • 75 Marc Mohan
    The merits of its arguments can be debated on the Op-Ed pages, but at least the movie makes it clear that they desperately need to be.
    • 80 Metascore
    • 83 Marc Mohan
    Political machinations, emotional revelations, and a few well-choreographed fight scenes ensue, but Hou focuses less on the satisfactions of plot and action than on crafting, if not quite bringing to life, his auteurist vision of the past (both historical and cinematic).
    • 80 Metascore
    • 91 Marc Mohan
    A haunting, melancholy fable, Tony Takitani is the kind of film that could seem tedious from a mere description. Approached with the right mind-set, however, it's a hypnotic mood piece on love and loss, one that knows -- at 75 minutes -- not to overstay its welcome.
    • 80 Metascore
    • 75 Marc Mohan
    The experience of psychological depression has been described with a variety of metaphors. William Styron called it "darkness visible," and Winston Churchill euphemized his bouts as "the black dog." In typically grandiose fashion, though, Lars von Trier tops them all.
    • 80 Metascore
    • 91 Marc Mohan
    A joy to watch.
    • 80 Metascore
    • 91 Marc Mohan
    The end result is the best documentary you'll see this year, as thrilling a competition as any Super Bowl and as suspenseful a story as any Hitchcock film.
    • 80 Metascore
    • 67 Marc Mohan
    White God holds some fascination. But as an indictment of the evil that men do, it's all bark and no bite.
    • 80 Metascore
    • 83 Marc Mohan
    The credibility of these theories ranges from faintly plausible to frankly ridiculous, but Ascher isn't interested in judging them; his movie is more about the joys of deconstruction and the special kind of obsession that movies can inspire.
    • 80 Metascore
    • 75 Marc Mohan
    Being a fairly faithful adaptation, this version also has a lot of that other stuff about the hypocrisy of civilized life, the truthfulness of natural splendor and so forth.
    • 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.
    • 80 Metascore
    • 91 Marc Mohan
    This was a story that made front pages in its day but has been largely lost to history, and now is brought bracingly and compellingly back to life.
    • 80 Metascore
    • 75 Marc Mohan
    Among the Dardennes' more accessible films, despite a drawn-out finale that still doesn't quite satisfy.
    • 80 Metascore
    • 91 Marc Mohan
    West of Memphis does nothing to displace its predecessor films as masterpieces of investigative filmmaking, but complements them as a riveting capstone to an epic and tragic tale.
    • 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.
    • 79 Metascore
    • 91 Marc Mohan
    John Hawkes has, until now, been known primarily as the skilled character actor who brought an earthy authenticity to roles on TV's "Deadwood" and the Oscar-nominated "Winter's Bone." With The Sessions, he makes his mark as a bona fide member of screen acting's elite. And he does it while barely moving a muscle.
    • 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.
    • 79 Metascore
    • 83 Marc Mohan
    Cheadle's performance elevates Hotel Rwanda, making it a film that does justice to the tragedy it commemorates.
    • 79 Metascore
    • 83 Marc Mohan
    If there's one thing missing, it's a sense of purposeful, immediate outrage. You can't help but wonder why this film wasn't made 20 years ago, when it could have saved these men some time behind bars.
    • 79 Metascore
    • 83 Marc Mohan
    Controversy aside, there's no denying that Kinsey was a pivotal figure in 20th-century America, and one whose fascinating story makes for a fascinating film.
    • 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
    • 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.
    • 79 Metascore
    • 91 Marc Mohan
    Highly entertaining chronicle of a dream unfilmed.
    • 79 Metascore
    • 83 Marc Mohan
    It's a treat to be diverted by a film that actually has a brain.
    • 79 Metascore
    • 75 Marc Mohan
    The real star is Attah, a Ghanaian street kid plucked from obscurity, who imbues Agu with just the right mix of terror, brutality and the last remaining vestiges of boyish innocence.
    • 79 Metascore
    • 83 Marc Mohan
    Plot takes a back seat to style and attitude, as it often does in Jarmuch's world, which can make the last half-hour of the movie drag a bit. But when that means getting to hang out with two fascinating creatures of the night, played by two fascinating performers, that's a perfectly valid trade-off.
    • 79 Metascore
    • 75 Marc Mohan
    Bell does a fantastic job of telling a thoroughly feminist story without being strident or didactic.
    • 79 Metascore
    • 75 Marc Mohan
    It proves the power of a good story, both to entertain us and to allow us to process unpleasant truths.
    • 79 Metascore
    • 75 Marc Mohan
    The clichés at its core make Metalhead something less than a full-bore, head-banging triumph. But it does perform the service of reminding us that even Judas Priest is capable of saving souls, and any film that features a cross-generational dance-off to Megadeth's "Symphony of Destruction" can't be all bad.
    • 78 Metascore
    • 83 Marc Mohan
    There seems to be less acting going on and more being, which not only makes this an enormously affecting penultimate performance (Gandolfini’s final film, “Animal Rescue,” will be released next year), but reinforces the brilliance of the darker work for which he will no doubt remain best known.
    • 78 Metascore
    • 91 Marc Mohan
    In the annals of monster movies, one name stands above all the rest, way above: Godzilla.
    • 78 Metascore
    • 75 Marc Mohan
    Intense, well-acted love story.
    • 78 Metascore
    • 91 Marc Mohan
    You might not be able to picture yourself in such a life, but you'll be glad that it persists.
    • 78 Metascore
    • 91 Marc Mohan
    Even the finest troupe of thespians would be wasted without Allen's guiding hand as writer and director. But Blue Jasmine, which might rank among Allen's 10 best films, shows what can happen when it all comes together.
    • 78 Metascore
    • 83 Marc Mohan
    The black-and-white cinematography and silent-film feel are haunting and nostalgic, and Aurora's story encapsulates a broader, bittersweet truth about the perils of tinted memory.
    • 78 Metascore
    • 83 Marc Mohan
    The results are inspiring, demonstrating that an artistic eye is an innate thing.
    • 78 Metascore
    • 83 Marc Mohan
    Only in its final moments does Breathe extend its reach beyond experiences that most, if not all, teens (and ex-teens) can relate to. When it does, it might just leave you breathless.
    • 78 Metascore
    • 91 Marc Mohan
    It's a riveting character study/soap opera.
    • 78 Metascore
    • 91 Marc Mohan
    To dismiss Ex Machina as just another robot movie would be like calling the Grand Canyon a hole in the ground. It's one of the most original, smart, thought-provoking science fiction movies of recent years.
    • 78 Metascore
    • 83 Marc Mohan
    It's a pleasant, engaging version of probably the closest thing to a sitcom the Bard ever penned.
    • 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.
    • 78 Metascore
    • 75 Marc Mohan
    In Morvern Callar, the subject matter may be morbid and unappealing, but the director handles it with a visual poetry and an eye for hidden beauty that marks a filmmaker of the first order.
    • 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.
    • 77 Metascore
    • 58 Marc Mohan
    It's also exhausting, despite an engaging premise.
    • 77 Metascore
    • 83 Marc Mohan
    The resulting documentary is a fascinating meditation on the different ways nature can be experienced, as well as a fatalistic take on the process of our planet's seemingly inevitable change in climate.
    • 77 Metascore
    • 83 Marc Mohan
    The cinematic gloss serves to heighten our involvement in the tale, and to mark Fukunaga as a talent to be reckoned with.
    • 77 Metascore
    • 91 Marc Mohan
    Grandma is a movie that, for what it's worth, gets an A+ on the Bechdel test. Writer-director Paul Weitz may still be cashing residual checks for the "American Pie" movies, but this is his most heartfelt, successful effort since 2002's "About a Boy."
    • 77 Metascore
    • 83 Marc Mohan
    The edited footage has an intensity and immediacy you won't find on cable news networks.
    • 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.
    • 46 Metascore
    • 67 Marc Mohan
    Of all the roles where the star has played a character transformed from ordinary to goofy ("The Mask," "Me, Myself & Irene," "Liar Liar"), this is the one where he seems the most human, achieving that elusive quality in a Carrey film: tolerability.
    • 77 Metascore
    • 91 Marc Mohan
    This film could serve as a potent tool for those trying to change 40 years of public policy.
    • 77 Metascore
    • 83 Marc Mohan
    The only danger with a movie like this is the inevitably disappointing return to more humdrum reality once it ends.
    • 77 Metascore
    • 91 Marc Mohan
    Effective, fact-based melodrama that packs an unexpected emotional wallop.
    • 76 Metascore
    • 83 Marc Mohan
    It’s a harrowing and impressive accomplishment (especially considering potential government censorship), and it shows how, in its mad rush toward modernity, China has become a land of haves and have-nots, where income inequality and lack of opportunity have made a mockery of the nation’s purported ideals. Sound familiar?
    • 76 Metascore
    • 75 Marc Mohan
    Even more impressive is young Tequan Richmond (TV’s “Everybody Hates Chris”) as the quiet, intense Malvo, a kid so desperate for a father figure in his life that he becomes putty in the hands of a killer.
    • 76 Metascore
    • 83 Marc Mohan
    Moving and suspenseful.
    • 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.
    • 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.
    • 76 Metascore
    • 91 Marc Mohan
    Shortland, whose only previous feature was 2004's coming-of-age drama "Somersault," creates a visceral, immersive environment and draws a very impressive performance from newcomer Saskia Rosendahl.
    • 76 Metascore
    • 91 Marc Mohan
    A perfectly irreverent counterpoint to movies that take their superheroes a bit too seriously.
    • 76 Metascore
    • 83 Marc Mohan
    There's a Gordon Gekko vibe to Shannon's reptilian, charismatic villain. Like Oliver Stone's "Wall Street," 99 Homes understands that people don't sell their souls because they're inherently evil — they do it because being rich is cool.
    • 76 Metascore
    • 83 Marc Mohan
    A well-acted, convincing portrait of a successful but overworked film producer.
    • 76 Metascore
    • 83 Marc Mohan
    A crowd-pleasing import that would leave only the most steadfast curmudgeon unmoved.
    • 76 Metascore
    • 75 Marc Mohan
    Moncrieff's story remains fresh despite the familiarity of its general outline. This is mostly due to the skilled performances she elicits; even when the unfolding events have been seen many times before, watching human beings react realistically never gets old.
    • 76 Metascore
    • 91 Marc Mohan
    Without passing moral judgments on either group, Cartel Land provides a vivid illustration of the dangers inherent whenever a government fails to meet its citizens' needs to the extent that they take matters into their own hands.
    • 76 Metascore
    • 83 Marc Mohan
    Today, Randi's stooped, gnomish gait and expansive white beard give him the appearance of a Tolkien wizard, but the man's passion for rationality and for exposing fraud and misbelief are stronger than ever. An Honest Liar is a fitting tribute to a figure whose stamina and wit only appear to be magical.
    • 76 Metascore
    • 83 Marc Mohan
    He's an engaging, profane interview subject, and a complex guy, self-described as both a "pervert" and a "romantic," sexually omnivorous, a Goldwater Republican before being drafted and sent to Vietnam, a McCarthyite peacenik afterward.
    • 76 Metascore
    • 83 Marc Mohan
    These three central performances, and a solid script by Anders Thomas Jensen and director Susanne Bier, ground a potentially overwrought story in genuine feeling.
    • 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.
    • 76 Metascore
    • 83 Marc Mohan
    Politics aside, Obvious Child hinges on Slate's performance, which is endearing and real.
    • 76 Metascore
    • 91 Marc Mohan
    The result is both a captivating history lesson and a tense intellectual thriller that dares to ask big questions about creativity and technology.
    • 76 Metascore
    • 67 Marc Mohan
    Spoofing the pernicious effects of television, especially the so-called reality genre, doesn't require pinpoint aim, and at times Luciano seems as much a target of ridicule as the superficial, oversexed entertainment served up on the tube.
    • 76 Metascore
    • 75 Marc Mohan
    Like its 2010 predecessor, it's one of the most gorgeous computer-animated kids' films you'll come across, and one of the few that uses 3-D smartly and effectively.
    • 76 Metascore
    • 75 Marc Mohan
    The languid, observational style of director Julia Loktev will frustrate those expecting stuff to, like, happen more, but it has its real rewards.
    • 76 Metascore
    • 75 Marc Mohan
    Mud
    The spirits of Huck Finn and Tom Sawyer are alive and well in the Southern-fried coming-of-age tale Mud. It's got all the ingredients.
    • 49 Metascore
    • 75 Marc Mohan
    Is it a worthwhile movie? Yes, for the most part.
    • 76 Metascore
    • 91 Marc Mohan
    Throughout, Sophie exhibits the quality common to all of history's great martyrs, a preternatural calmness that perseveres despite (or perhaps because of) the inevitability of her doom.
    • 76 Metascore
    • 100 Marc Mohan
    Neither the social commentary nor the story ever overpower the other, a feat that allows this remake to stand proudly alongside the original, its equal in every way.
    • 76 Metascore
    • 83 Marc Mohan
    Overall, though, the combination of Gondry’s whimsicality and Chomsky’s stoicism creates fascinating oil-and-water patterns that reveal more the longer they’re contemplated.
    • 75 Metascore
    • 100 Marc Mohan
    If Young at Heart were merely a cheeky presentation of codgers belting out inappropriate tunes, it would be a curiosity and nothing more. But by getting inside the lives of a few of its members, the movie ultimately paints a moving portrait of senior citizens who believe it's better to burn out than fade away.
    • 75 Metascore
    • 75 Marc Mohan
    The result is a solid film, but one that remains more interesting than intense.
    • 75 Metascore
    • 75 Marc Mohan
    Director Sini Anderson compiles interviews with Hanna and her husband, Beastie Boy Adam Horovitz, as well as archival footage, into an admiring portrait of a sometimes combative figure.
    • 75 Metascore
    • 83 Marc Mohan
    A second helping of a satisfying dish.
    • 75 Metascore
    • 91 Marc Mohan
    This story could take place anywhere there are families struggling to remake themselves in the aftermath of tragedy; its universality is perhaps the most potent political message of all.
    • 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.
    • 75 Metascore
    • 75 Marc Mohan
    Sweet Land brushes against the true spirit of American independent cinema.
    • 75 Metascore
    • 67 Marc Mohan
    Fiennes and screenwriter Abi Morgan deserve credit for crafting something more nuanced than a mere scandal-airing demonization.
    • 75 Metascore
    • 83 Marc Mohan
    Like Brad Pitt and Robert Redford, Gere's good looks have made it hard sometimes to recognize his acting ability, but it's on full display here in what is anything but a vanity project.
    • 75 Metascore
    • 100 Marc Mohan
    The movie, like the man, seems more interested in spreading the gospel of environmental responsibility, and in doing so it's probably the most important film of the year.
    • 75 Metascore
    • 83 Marc Mohan
    Park is a visual virtuoso, with imaginative transitions and clever use of special effects wrapped around a sly, effective performance from Lee at the center of it all.
    • 75 Metascore
    • 91 Marc Mohan
    As far as a coherent, hilarious story line, as well as sheer blasphemous glee, you can't do much better than "Life of Brian."
    • 75 Metascore
    • 75 Marc Mohan
    What really separates Zatoichi from a run-of-the-mill action pic is the sense of humor -- and even more than that, the sense of fun -- that Kitano brings to it.
    • 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.
    • 75 Metascore
    • 75 Marc Mohan
    The movie's centerpiece and peak is the operation itself, which Reichardt depicts with the pulse-pounding patience of a classic heist sequence like that in "Rififi."
    • 75 Metascore
    • 91 Marc Mohan
    By the time the satisfying conclusion rolls around, though, it proves to be much more about the ability of a world-class director to induce such willing suspension of disbelief that even the loopiest narrative developments seem like the most natural thing in the world.
    • 75 Metascore
    • 91 Marc Mohan
    Behind the on-field shenanigans and eccentric personalities, there's a meatier story about the corporatization of sports and the disappearance of the barnstorming attitude Bing Russell took as a virtual religion.
    • 75 Metascore
    • 91 Marc Mohan
    At a full three hours, the movie flirts with wearing out its welcome about two-thirds through, but recovers to end up an exhausting, operatic black comedy that leaves you wanting more.
    • 75 Metascore
    • 83 Marc Mohan
    Hers is a sad story, but the fact that she never received recognition during her lifetime isn't part of its sadness.
    • 75 Metascore
    • 75 Marc Mohan
    Director Jan Hrebejk and screenwriter Petr Jarchovsky ("Divided We Fall," "Up and Down") have crafted another well-observed tale, one with no heroes or villains, just people trying to make something of the situations in which they find themselves. And, with a nicely ambiguous ending, it's drama enough.
    • 75 Metascore
    • 91 Marc Mohan
    The whole thing unfolds with sadistic precision, but Edgerton's expert manipulation makes it a fun ride nonetheless.
    • 75 Metascore
    • 83 Marc Mohan
    Hold onto your hats, True Believers! This one's got the most massive, momentous montage of Marvel's merry mutants ever mashed into one movie!

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