For 575 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 9.5 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
Average review score: 69
Highest review score: 100 The Gatekeepers
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 25 out of 575
575 movie reviews
    • 54 Metascore
    • 58 Marc Mohan
    So, be warned: You may not learn anything from this mild, unremarkable film, but you might be tempted to order the deluxe, four-volume “The Complete Calvin and Hobbes” after watching it. I was, and I don’t regret it a bit.
    • 54 Metascore
    • 50 Marc Mohan
    The plot is straight off the shelf, the performances are television-caliber and the message of providing solace through deception is a little creepy. Then again, that formula resulted in record-breaking ticket sales for "Greek Wedding."
    • 54 Metascore
    • 67 Marc Mohan
    Paper Heart isn't the most cloying instance of earnest indie quirk to emerge in the past few months, nor is it the most charming, but the mere fact that such a continuum exists is reason enough to worry.
    • 54 Metascore
    • 75 Marc Mohan
    Should satisfy its 8- to 12-year-old target demographic.
    • 54 Metascore
    • 58 Marc Mohan
    This ode to indie legitimacy proves to be too cartoonish to feel real and not outrageous enough to be memorable.
    • 53 Metascore
    • 42 Marc Mohan
    A facile, feel-good fable that substitutes cliché for reality at nearly every turn.
    • 53 Metascore
    • 83 Marc Mohan
    Parents who want smart, harmless movies that don't condescend for their school-age kids -- a rare thing these days -- should be grateful for Nancy Drew.
    • 53 Metascore
    • 67 Marc Mohan
    As a hypothetical, all-access documentary about the kookiest day in draft history, it's oddly satisfying, maybe because watching the actual, bloated spectacle (scheduled this year for May 8) is so often underwhelming.
    • 53 Metascore
    • 50 Marc Mohan
    Sobol, directing his second feature, should have been able to prod this story to life, especially considering the cast he was provided. But everything proceeds in such an orderly fashion, right through the ostensibly 'twist' ending, that maintaining interest is a serious challenge.
    • 53 Metascore
    • 58 Marc Mohan
    Moderately amusing.
    • 53 Metascore
    • 67 Marc Mohan
    For a film that shows the folly of failing to take the female orgasm seriously, Hysteria ends up taking a silly angle on a potentially fascinating slice of secret history.
    • 53 Metascore
    • 58 Marc Mohan
    Overall, The Pretty One suffers from excessive, unfocused quirk and a predictable sitcom resolution.
    • 53 Metascore
    • 58 Marc Mohan
    It's not a political film, but it's also not a bland recitation of homilies about the honor of serving one's country. It's a jokey road movie, in which three soldiers heading home from Iraq are forced into a cross-country van ride together.
    • 53 Metascore
    • 67 Marc Mohan
    In addition to the slick but generic computer animation, it's also got an A-list voice cast: Nicolas Cage as Dr. Tenma, the grieving inventor, and Donald Sutherland as a scheming politician.
    • 53 Metascore
    • 67 Marc Mohan
    Well-crafted as it is, though, The Artist and the Model suffers from the familiarity of its plot, and especially in comparison with "La belle noiseuse," which ran over twice as long as this film but contained ten times as much insight into human nature.
    • 52 Metascore
    • 50 Marc Mohan
    It's probably not a good idea to examine the political content of a film in which the leader of the free world proves that the pen is mightier than the sword by stabbing someone in the neck with one.
    • 52 Metascore
    • 58 Marc Mohan
    The increasingly unlikely escapades culminate in a finale that's as narratively lazy as it is morally questionable, lending further credence to the voices that proclaimed Haggis absurdly overpraised for the 2004 Oscar-winner "Crash."
    • 52 Metascore
    • 50 Marc Mohan
    Whatever the faults of Goya's Ghosts -- and there are several -- you've got to hand it to director Milos Forman: It takes real chutzpah to cast Randy Quaid as the king of Spain.
    • 52 Metascore
    • 67 Marc Mohan
    Grim, post-apocalyptic, special-effects extravaganza.
    • 52 Metascore
    • 42 Marc Mohan
    The story of the rescue of these priceless artifacts is absolutely worthy of as much attention as Hollywood can provide. But by the final, self-congratulatory, groan-inducing scene, it's more than clear that this telling of it is a monumental mess.
    • 52 Metascore
    • 42 Marc Mohan
    For children old enough to get the jokes about Vicodin but young enough to innocently fantasize about movie stars, Win a Date With Tad Hamilton! will be a perfectly pitched midwinter treat.
    • 52 Metascore
    • 50 Marc Mohan
    While it's nice to see Reitman try to branch out from the hip, acerbic humor of "Juno" and "Young Adult," his clumsiness with this more earnest material is an unpleasant surprise.
    • 52 Metascore
    • 50 Marc Mohan
    Aggressively loud, terminally mediocre.
    • 52 Metascore
    • 42 Marc Mohan
    The film looks old-fashioned, too, with cinematography and special effects so reminiscent of old-school, live-action Disney flicks such as "Something Wicked This Way Comes" that you wonder if it was an aesthetic choice or a budgetary concession. Either way, it doesn't work.
    • 51 Metascore
    • 42 Marc Mohan
    As is, the slapstick humor and mild repartee won't please many with a mindset above that of a 10-year-old, while the level of (admittedly fantastical) violence might be a bit much for the pre-teen set.
    • 51 Metascore
    • 42 Marc Mohan
    For those disappointed in the grim, gritty feel of the latest James Bond movie and who long for the absurdity of the Roger Moore-era entries, Transporter 3, ought to fit the bill.
    • 51 Metascore
    • 42 Marc Mohan
    Closed Circuit ultimately feels like a cynical attempt to capitalize on security-state anxieties while examining them in only the shallowest ways.
    • 51 Metascore
    • 58 Marc Mohan
    Free Zone is similar to the car-based films of Iranian filmmaker Abbas Kiarostami but with a more improvised, less-finished feel.
    • 51 Metascore
    • 42 Marc Mohan
    Whether Elia Kazan could have done something memorable with this script will remain an eternally open question. This film, though, is most effective as a reminder that Williams' works emerged from a certain time and place, and to approach them from another is fraught with peril.
    • 51 Metascore
    • 50 Marc Mohan
    Eventually the movie wants to have things both ways: to approvingly entertain mainstream audiences with the glittering spectacle of space battles and to pay lip service to the notion of conscience.