For 689 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 9.2 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Gatekeepers
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 689
689 movie reviews
    • 66 Metascore
    • 83 Marc Mohan
    Ultimately, it's an instructive and entertaining examination of both the overlooked environmental costs of everyday life and the possibilities for change.
    • 65 Metascore
    • 67 Marc Mohan
    It takes an almost bracingly explicit attitude toward issues of sexual intimacy, to the degree that just seeing this film might count as therapy for some married couples. The PG-13 rating is justified, and should be taken literally, though I can't imagine too many parents bringing their kids to this one. Talk about an awkward car ride home. 
    • 65 Metascore
    • 75 Marc Mohan
    Director Jim deSeve has done an excellent job of providing both historical and personal perspective on a topic that provokes heated emotional reactions.
    • 65 Metascore
    • 58 Marc Mohan
    Ultimately, the movie takes its characters, and the absurd ethical dilemma it subjects them to, far too seriously.
    • 65 Metascore
    • 91 Marc Mohan
    If you're content to let dream logic take over, a lot can be gleaned from this odd, darkly funny meditation on life, death, love and revenge.
    • 65 Metascore
    • 75 Marc Mohan
    In 1960, British director Michael Powell made "Peeping Tom," the definitive exploration of voyeurism in the movies. The shocking thriller also practically ruined the career of the veteran filmmaker. Although the stalker-centric Alone With Her doesn't quite rank with Powell's masterpiece, it shows enough promise that one hopes writer/director Eric Nicholas doesn't share his fate.
    • 65 Metascore
    • 50 Marc Mohan
    The performance of Bening (and, quietly, Irons) keeps Being Julia from being too tiresome.
    • 65 Metascore
    • 75 Marc Mohan
    At its core, the story is a Mars vs. Venus case study.
    • 65 Metascore
    • 75 Marc Mohan
    As usual, the director is a wizard at camera movement and more than willing to plunge his audience into unpleasantness.
    • 65 Metascore
    • 83 Marc Mohan
    Digitally shot, the film looks great, and the performances ooze charisma. The biggest star, though, may be Kinshasa itself, a roiling, barely cohesive sea of humanity that seems as if it could serve as a backdrop for some fascinating films for years to come.
    • 65 Metascore
    • 75 Marc Mohan
    Eventually the chemistry between Collette and Church wins out, and Lucky Them makes for a diverting, if forgettable, romantic comedy.
    • 65 Metascore
    • 83 Marc Mohan
    This being an Italian film, and Gianni being such a hapless, kindhearted aspiring Lothario, make this perhaps the sweetest movie ever made about a guy trying to cheat on his wife.
    • 65 Metascore
    • 58 Marc Mohan
    Whereas Carver writes about alcoholics, this movie is about alcoholism, which is completely different.
    • 65 Metascore
    • 83 Marc Mohan
    If Rod Serling had hired Robert Altman to direct a "Twilight Zone" episode, it might have turned out something like this.
    • 65 Metascore
    • 75 Marc Mohan
    Paradise: Love, the first in a thematic trilogy, is a sad story about the difficulty individuals face when trying to establish relationships across vast cultural and economic gulfs.
    • 65 Metascore
    • 42 Marc Mohan
    This final act goes on far too long and devolves into such a miasma of pap that it's clear Stoller had no idea how to wrap things up.
    • 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.
    • 65 Metascore
    • 83 Marc Mohan
    It mostly manages the impressive feat of mixing jaw-droppingly gross jokes with characters that are worth caring about.
    • 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.
    • 65 Metascore
    • 50 Marc Mohan
    The authenticity of its setting and its actors make this effort worth a look.
    • 65 Metascore
    • 75 Marc Mohan
    Well, if Jordan believes he's made an excellent film, that's one thing, but the fact is it's a minor, though mostly enjoyable, one.
    • 65 Metascore
    • 83 Marc Mohan
    The story of Matt VanDyke, as told in the fascinating documentary Point and Shoot, is a vivid illustration of the ups and downs of reinvention.
    • 64 Metascore
    • 67 Marc Mohan
    The performances are solid, the cinematography is stunning, and the setting is intriguing. But the whole thing feels bloodless, hitting us over the head with its understatedness. Anytime a film's soundtrack features The Shins, James Taylor, and Nick Drake, you know you're in for an overly laid back time.
    • 64 Metascore
    • 75 Marc Mohan
    While the subject matter is certainly American enough, it seems possible the original had a bit more depth.
    • 64 Metascore
    • 75 Marc Mohan
    Idris Elba exudes the requisite militaristic authority as Raleigh's commanding officer, and Rinko Kikuchi is his determined partner in mecha mayhem.
    • 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.
    • 64 Metascore
    • 83 Marc Mohan
    Weitz does it again here, turning what could have been another manifesto of liberal guilt into a genuinely moving tale of a father and son banding together in a hostile world.
    • 64 Metascore
    • 75 Marc Mohan
    Despite all this hokum, Quartet is amusing and heartwarming.
    • 64 Metascore
    • 83 Marc Mohan
    There's something in this nostalgic, lovingly photographed film about the transition from the classical art of painting to the new art of the cinema, as embodied by one of the greatest practitioners of each. The independent-minded Andrée, who would go on to marry Jean Renoir and star in several of his early films, is presented as something more than a mere muse, if something less than a full-fledged character.
    • 64 Metascore
    • 83 Marc Mohan
    While this sort of thing can easily devolve into bourgeois comfort food, Thompson, a veteran of the genre, knows how to serve it up just about right.

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