For 719 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 8.8 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 All Is Lost
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 37 out of 719
719 movie reviews
    • 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.
    • 58 Metascore
    • 83 Marc Mohan
    The actual video footage of some of the incidents recreated in the film, which play with the end credits, makes it clear that sometimes reality can be as hokey as fiction.
    • 58 Metascore
    • 58 Marc Mohan
    Its smallness of scale, and undemonstrative nature, could make it a welcome change of pace from Hollywood bombast, especially for fans of the life aquatic.
    • 58 Metascore
    • 75 Marc Mohan
    An immaculately crafted, splendidly acted drama with a message at its core of forgiveness and humanity. It's also blatantly manipulative, and, upon reflection, rather banal. In other words, it's the epitome of Oscar bait and almost serves as a step-by-step guide to creating such a beast.
    • 58 Metascore
    • 75 Marc Mohan
    Once Wentworth Miller's screenplay starts to provide answers for Charlie's mysterious menace, though, expectations are left unfulfilled.
    • 58 Metascore
    • 42 Marc Mohan
    One of the most lifeless and predictable movies you're likely to see this year.
    • 58 Metascore
    • 67 Marc Mohan
    Overall, the trip successfully embodies the spirit of the original Magic Bus man, Ken Kesey, whom these modern-day pranksters visit in a poignant scene filmed just months before his death.
    • 58 Metascore
    • 75 Marc Mohan
    Remarkable, unheralded story.
    • 58 Metascore
    • 75 Marc Mohan
    While these interviews are affecting, and the movie talks about suicide in a refreshingly straightforward manner, it's the images of these actual deaths that induce horrified gasps.
    • 58 Metascore
    • 58 Marc Mohan
    This may have been fertile grounds for satire in 1925, when Noel Coward's drawing-room melodrama Easy Virtue debuted on the stage, but by now this film version feels rather done.
    • 58 Metascore
    • 75 Marc Mohan
    Significantly cleverer than its moniker, even though it picks for its satire one of the most inviting targets on record: the world of contemporary art.
    • 58 Metascore
    • 67 Marc Mohan
    The film paints a by now familiar picture of suburbia as a pit of dysfunction, though some nice dark-humored moments and generally fine performances make up for a lot.
    • 58 Metascore
    • 75 Marc Mohan
    Wrong never feels dangerous or truly challenging, content generally to amuse rather than amaze.

Top Trailers