For 619 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 9.7 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
Average review score: 69
Highest review score: 100 Goodbye Solo
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 27 out of 619
619 movie reviews
    • 96 Metascore
    • 100 Marc Mohan
    Gravity isn’t as ambitious as “2001,” but then, what is? It is, however, absolutely a worthy successor, a masterpiece of hard science fiction, and the movie to beat at this point for next year’s cinematography and visual effects Oscars.
    • 95 Metascore
    • 83 Marc Mohan
    Viewers looking for a propagandistic take will be disappointed, but even those who doubt the overall framework and existence of the so-called War on Terror should appreciate this thrilling tale of the hunt for the world's most wanted man.
    • 94 Metascore
    • 91 Marc Mohan
    While what's on screen is unsparing and clinically presented, the underlying, almost invisible humanity and artistry of the film inspire rather than depress.
    • 92 Metascore
    • 100 Marc Mohan
    As flawless as any film this year and rock-solid confirmation that Joel and Ethan Coen are the greatest filmmakers working in America (and perhaps anywhere else) today.
    • 91 Metascore
    • 91 Marc Mohan
    When a film like Stories We Tell comes along, you're reminded how powerful and universal even the most intimate and individual lives can be when captured with intelligence and perspective.
    • 91 Metascore
    • 100 Marc Mohan
    For a film that consists largely of a series of talking-head interviews, The Gatekeepers is a riveting a documentary.
    • 90 Metascore
    • 100 Marc Mohan
    With a level-gazed approach to its milieu, empathetic but clear-eyed, Winter's Bone practically makes up for 40 years of "Deliverance"-style hillbilly cartoons.
    • 90 Metascore
    • 83 Marc Mohan
    Her
    As the relationship between Theodore and Samantha evolves, it hews too closely to the expected arc of a romantic drama. In a desire to show how such a pairing could produce the same joys, sorrows, jealousies and insecurities as a human-to-human one, the movie edges close to parody, which it doesn't want to be.
    • 89 Metascore
    • 100 Marc Mohan
    The Act of Killing is exemplary as a history lesson, a character study and a powerful argument for confronting the past.
    • 89 Metascore
    • 83 Marc Mohan
    Ida
    Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.
    • 89 Metascore
    • 91 Marc Mohan
    Takes on the air of a heist film as the preparations proceed, and even knowing the outcome, tension still remains.
    • 89 Metascore
    • 83 Marc Mohan
    The first to take a big-picture view of just how the plans for postwar occupation went so far off track.
    • 89 Metascore
    • 100 Marc Mohan
    The acting is flawless, the world feels utterly real, and the finale accomplishes the miracle of finding in the everyday world something profound.
    • 88 Metascore
    • 91 Marc Mohan
    The result is a gripping film which, despite the annoying rugrat, demonstrates how part of leaving childhood behind is learning how and when to lie, and to do it well.
    • 88 Metascore
    • 91 Marc Mohan
    The Grand Budapest Hotel shows Anderson engaging with the world outside his meticulously composed frames like never before.
    • 88 Metascore
    • 91 Marc Mohan
    As unpleasant as so many of its going-on are, Wake in Fright works both as an early instance of "Ozploitation" cinema and as a harsh critique of Australian colonialism and the absurdity of trying to bring so-called civilization to this vast arid wilderness.
    • 87 Metascore
    • 83 Marc Mohan
    What makes the Dardennes' films so powerful is their refusal to judge, positively or negatively, their characters.
    • 87 Metascore
    • 83 Marc Mohan
    The Missing Picture feels akin to last year's great documentary, "The Act of Killing."
    • 87 Metascore
    • 100 Marc Mohan
    Anyone who shares Ebert's love of movies and who followed his career will be exceptionally moved by Life Itself, but anyone who appreciates a well-lived life should be touched as well.
    • 87 Metascore
    • 100 Marc Mohan
    The pacing is perfect, and the action, mostly filmed in a studio, is never less than utterly believable. The director’s first feature, “Margin Call,” was full of rapid-fire dialogue, and he shows off considerable range by following it up with this film.
    • 86 Metascore
    • 83 Marc Mohan
    Even the tiny roles in this Rockwell-meets-Breughel panorama are perfectly, although almost cruelly, cast.
    • 86 Metascore
    • 83 Marc Mohan
    The period details are spotless, kindling memories of those days of yellow ribbons and nightly news updates on the fate of the American hostages.
    • 86 Metascore
    • 83 Marc Mohan
    Difficult to sit through, Our Daily Bread is nonetheless an important record, invaluable for those with the courage to watch it.
    • 85 Metascore
    • 91 Marc Mohan
    Akin is German-born but of Turkish heritage, and his films have often been concerned with the particular clashes and conflicts between those cultures. This film, though, does so in a much more oblique way than 2004's "Head-On."
    • 85 Metascore
    • 91 Marc Mohan
    With evocative performances, especially from the two women, and a nicely modulated sense of nostalgia, Ilo Ilo marks the emergence of a promising new cinematic voice.
    • 85 Metascore
    • 91 Marc Mohan
    The film's final scene, which manages to recontextualize everything we've seen so far with a brilliant simplicity that, if further proof were needed, establishes Farhadi as one of the best storytellers in cinema today.
    • 85 Metascore
    • 83 Marc Mohan
    As storytelling, it's extremely effective.
    • 85 Metascore
    • 83 Marc Mohan
    This combination of fatalism, nostalgia and willfully naive optimism captures something essential in the Russian soul.
    • 84 Metascore
    • 83 Marc Mohan
    Nguyen reportedly worked on War Witch for a decade, and it shows in both the immediacy and authenticity of his tale, and the meticulous craft with which it's told.
    • 84 Metascore
    • 91 Marc Mohan
    A keenly observed, typically high-quality family drama of the sort only the French seem capable of making anymore.