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 Goodbye Solo
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 689
689 movie reviews
    • 60 Metascore
    • 91 Marc Mohan
    It's an ending that may alienate some viewers, but will jolt others out of their comfort zones and into an appreciation of genuinely brave storytelling.
    • 60 Metascore
    • 25 Marc Mohan
    The film's structure is a reminder that being Pinteresque isn't the same as being written by Harold Pinter, and its lyrics prove that there's a big difference between something Sondheim-esque and the real deal.
    • 60 Metascore
    • 83 Marc Mohan
    C.O.G. is probably of the most interest to Sedaris fans curious to see how the humorist’s unique tone translates to film (the answer is moderately well).
    • 60 Metascore
    • 75 Marc Mohan
    For gourmands who appreciate this sort of cinematic comfort food, though, The White Countess is a fitting finale for the producer.
    • 60 Metascore
    • 50 Marc Mohan
    There’s nothing approaching a unique take on the story.
    • 60 Metascore
    • 75 Marc Mohan
    For at least three-fourths of its running time, The Concert is predictable, soft-edged and unremarkable. Then the titular performance, of Tchaikovsky's Violin Concerto, begins, and the music elicits the emotional response the rest of the film has been striving for the whole time. It's enough to almost make the whole thing worthwhile.
    • 60 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.
    • 60 Metascore
    • 42 Marc Mohan
    Multiplex audiences can choose over the next few weeks between two starkly different views of the future. The remnants of humanity struggle for survival in the brutal world of "Mad Max: Fury Road," while Tomorrowland offers an optimistic retro-future paradise full of jetpacks and robots. Me, I'll take post-apocalyptic desert wasteland over soulless corporate utopia any day of the week.
    • 60 Metascore
    • 83 Marc Mohan
    The Belgian comedy The Iceberg might be a pale shadow of the films of the great French comedian Jacques Tati, but even that's enough to qualify it as an amusing, inventive effort.
    • 60 Metascore
    • 75 Marc Mohan
    There's nothing earth-shaking here, but a chance to see one of cinema's great movie stars in a tailor-made role that pleasantly subverts her icy image is always welcome.
    • 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.
    • 60 Metascore
    • 75 Marc Mohan
    British-born director Justin Chadwick might not seem the most logical choice to bring Mandela’s life to the screen, but he handles the historical sweep and the intimate moments with equal steadiness.
    • 60 Metascore
    • 50 Marc Mohan
    The storyline would appear trite and the message muddled even to someone who'd never heard the name Mel Gibson.
    • 60 Metascore
    • 75 Marc Mohan
    The surprisingly thoughtful third act both introduces complexity to its portrayal of the Afghan people, and subtly reminds us that, despite Luttrell's astonishing constitution and self-surgery skills, as well as the ultimate sacrifices made by his comrades in arms, it was all for naught.
    • 60 Metascore
    • 58 Marc Mohan
    What could have been a complex portrait of a flawed man dealing with the perils of success ends up far less interesting.
    • 59 Metascore
    • 58 Marc Mohan
    Well-intentioned but underdeveloped and self-satisfied, it feels at times like the ultimate movie for the millennial generation, or at least its stereotype.
    • 59 Metascore
    • 75 Marc Mohan
    Sarah's story is harrowing and powerfully told, as she valiantly attempts to escape and return home with the key to free her brother. Director Gilles Paquet-Brenner doesn't stint on depicting the indignities and violence inflicted even on children, and Mayance's performance is exceptionally strong.
    • 59 Metascore
    • 83 Marc Mohan
    The title is too cutesy and clever, but it's about the only unsubtle aspect of this poignant, humble drama that'll probably get lost amid the multiplex bombast, but shouldn't.
    • 59 Metascore
    • 50 Marc Mohan
    The only thing that could make this movie more French would be a guillotine.
    • 59 Metascore
    • 58 Marc Mohan
    Perhaps a better moniker would have been "One Flew Over My Left Foot."
    • 59 Metascore
    • 67 Marc Mohan
    Sayles has always had a gift for female characters, and Go for Sisters features a couple of good ones.
    • 59 Metascore
    • 91 Marc Mohan
    Predictable, contrived, sappy and, ultimately, against all odds, remarkably fulfilling.
    • 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.
    • 59 Metascore
    • 75 Marc Mohan
    Sometimes it's fun to put on costumes and wigs and just goof around.
    • 59 Metascore
    • 50 Marc Mohan
    County Clare holds little of interest, with a generic story line and a cast that's mostly just going through the motions.
    • 59 Metascore
    • 58 Marc Mohan
    There's a conflict between the film's need for some sort of closure and the messiness of the reality it depicts that leaves The Whistleblower even more unsatisfying than it was meant to be.
    • 59 Metascore
    • 67 Marc Mohan
    Tries to pretend that its premise isn't timeworn, and thanks to charming lead performances, it almost succeeds. But not quite.
    • 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.
    • 59 Metascore
    • 91 Marc Mohan
    This unique cinematic experience is a parable of greed and revenge that could take place anywhere.
    • 58 Metascore
    • 67 Marc Mohan
    Lyrical and gorgeous, it indulges in enough trademark Malickian touches to seem almost a parody of itself.

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