For 605 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 Schultze Gets the Blues
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 26 out of 605
605 movie reviews
    • 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.
    • 84 Metascore
    • 83 Marc Mohan
    While the third act inevitably bogs down a bit in gunplay and chases, there are more than enough moments of visual wonder and storytelling surprise to make it worth the trip.
    • 84 Metascore
    • 75 Marc Mohan
    The overall thrust of the story -- that downtrodden folks in desperate circumstances have the capacity for goodness -- is one too rarely seen.
    • 84 Metascore
    • 91 Marc Mohan
    Perhaps the most beautiful film to hit Portland movie screens this year.
    • 84 Metascore
    • 91 Marc Mohan
    It wouldn’t be surprising to hear about moviegoers demanding their money back after seeing The Dallas Buyers Club, but not because the film isn’t good. It’s actually very nearly great.
    • 84 Metascore
    • 91 Marc Mohan
    The halting dialogue, full of awkward pauses and restarts, seems improvised in the way that only carefully scripted material can.
    • 83 Metascore
    • 91 Marc Mohan
    20 Feet From Stardom spends time as well with Claudia Lennear, Táta Vega and Lisa Fischer. None of the three ever found much success as a solo artist, but you probably can't listen to a classic-rock radio station for a half-hour without hearing one of them backing up Joe Cocker, David Bowie, Tina Turner or the Rolling Stones.
    • 83 Metascore
    • 91 Marc Mohan
    The pressure cooker atmosphere builds for almost too long, but when the resolution finally occurs, the sense of relief is that much more palpable.
    • 83 Metascore
    • 75 Marc Mohan
    The film works as well as it does thanks to Kimberly Roberts' magnetic screen presence.
    • 82 Metascore
    • 83 Marc Mohan
    In the fine tradition of well-made thrillers, it's enough that it all feels solid at the moment, and the final revelations are unexpected and seemingly inevitable.
    • 82 Metascore
    • 91 Marc Mohan
    With this amoral business environment, it's not a question of if there will be another Enron, but when.
    • 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.
    • 82 Metascore
    • 100 Marc Mohan
    An alternately harrowing and poetic take on the fatal 1982 hunger strike of Irish Republican Army prisoner Bobby Sands, Hunger is also one of the most impressive feature directing debuts in years.
    • 82 Metascore
    • 83 Marc Mohan
    Social critique isn't the main concern of director James Ponsoldt ("Smashed"). What he does is take us inside an unexpected, but not unrealistic, high school relationship and provide a splendid stage for two young and very promising actors.
    • 82 Metascore
    • 83 Marc Mohan
    A mental workout of the most invigorating sort.
    • 82 Metascore
    • 91 Marc Mohan
    As numbing as the drumbeat of downbeat documentaries can be, as hard as it is to even be shocked at the depravities committed in our name, a film like this remains important, both as an indictment of the present day and as a warning to future generations that the ends don't always justify the means.
    • 82 Metascore
    • 83 Marc Mohan
    The film verges on hagiography as one interviewee after another testifies to Dominique's positive influence on his nation, but in this case the cynical notion that there must be another side to the story is easy to tamp down.
    • 82 Metascore
    • 83 Marc Mohan
    The longer it goes on, the more you're swept up into the jet stream of good feeling.
    • 82 Metascore
    • 83 Marc Mohan
    Kaurismäki is a master of expressive stillness for whom inaction often speaks louder than words, and the performances he elicits are perfectly pitched, including young Miguel's.
    • 82 Metascore
    • 83 Marc Mohan
    My Summer of Love, with its lush, sunlit landscapes, may occupy the opposite end of the visual spectrum, but it reinforces the sense that this director knows his way around the range of human emotion as well.
    • 82 Metascore
    • 83 Marc Mohan
    The pace of this Oscar nominee may be a bit contemplative for audiences seeking "Yojimbo"-style action, but it's surely a more realistic and moving look at life in 19th-century Japan.
    • 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.
    • 81 Metascore
    • 91 Marc Mohan
    It's a fascinating instance of a filmmaker working with self-imposed rules, but never forgetting that those restrictions are only worthwhile to the extent that they serve character and story. It's a ride well worth taking.
    • 81 Metascore
    • 83 Marc Mohan
    The most telling moment comes when his mother reveals that, despite all the subterfuge and false promises, she wouldn't have had it any other way.
    • 81 Metascore
    • 91 Marc Mohan
    Django doesn't have the razor-sharp chronological complexity of "Pulp Fiction," but it's ably paced. A very funny scene involving a proto-Ku Klux Klan lynch mob and their poorly made hoods nevertheless seems a bit out of place, but there's plenty of well-timed suspense.
    • 81 Metascore
    • 75 Marc Mohan
    The style and subject matter recall the films of the Dardenne brothers, ("The Kid With a Bike") and while Sister never reaches the heights of their best work, it earns the comparison.