For 650 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 9.4 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: 29 out of 650
650 movie reviews
    • 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
    • 75 Marc Mohan
    It's not a five star film, but it's no Motel 6 either.
    • 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.
    • 51 Metascore
    • 50 Marc Mohan
    As with so many of his appearances, Franco manages to bring a jolt of energy to the film even while skewering its credibility.
    • 51 Metascore
    • 75 Marc Mohan
    It does assemble a compelling collage from the experiences of several real-life witnesses to the event and its aftermath.
    • 50 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.
    • 50 Metascore
    • 75 Marc Mohan
    Director Guillaume Canet, who previously teamed with Cluzet on the excellent thriller "Tell No One," capably handles the sprawling cast.
    • 50 Metascore
    • 50 Marc Mohan
    First-time director Jeff Baena struggles with framing, editing, tone and casting, leading to an unimpressive entry in the ever-burgeoning zombie comedy genre.
    • 50 Metascore
    • 67 Marc Mohan
    Dedication would've been better if it had stuck to its disreputable guns instead of going all mushy and predictable, and slathering an emo soundtrack over everything.
    • 50 Metascore
    • 50 Marc Mohan
    The film oddly mirrors "The Passion of the Christ," as a show trial leads inexorably toward an almost sadistically filmed public execution (it doesn't hurt that Jim Caviezel plays the reporter). Like that movie, it gets its point across with all the subtlety, sorry to say, of a rock upside the head.
    • 50 Metascore
    • 42 Marc Mohan
    Fiction can sometimes be used to access a deeper truth than mere fact, but in this case all it does is obscure and confuse a fascinating life story.
    • 50 Metascore
    • 58 Marc Mohan
    Although the filmmakers reportedly worked with David Copperfield and other renowned real-life illusionists and tried to minimize the use of CGI, you're still left wondering how much of the magic is merely the kind Hollywood spits out by the terabyte.
    • 50 Metascore
    • 58 Marc Mohan
    The movie's conceit grows a bit stale even with a short running time, and ultimately the whole thing feels more like an acting workshop than a full-fledged human story.
    • 49 Metascore
    • 58 Marc Mohan
    The film never gets beyond Chapman's obsession with "Catcher in the Rye" and a few bits of "Taxi Driver" dialogue to show us anything we didn't already know.
    • 49 Metascore
    • 75 Marc Mohan
    Is it a worthwhile movie? Yes, for the most part.
    • 49 Metascore
    • 50 Marc Mohan
    Although 2012 is what they call "critic-proof," it's not immune to analysis. It depicts a world where no one, man or God, has much say in what happens to the planet, and where the survival of one family outweighs the deaths of billions.
    • 49 Metascore
    • 42 Marc Mohan
    The problem is the obviousness with which the plot unfolds -- it's as if the filmmakers had a 14th-century audience in mind, one that had never seen a movie.
    • 49 Metascore
    • 58 Marc Mohan
    In retrospect, and with no disrespect meant, it may have been a mistake to entrust a story this polarizing to Bill Condon, the filmmaker who most recently made “Twilight: Breaking Dawn,” and “Dreamgirls.”
    • 49 Metascore
    • 83 Marc Mohan
    Flashes of dark humor and steady, grounded performances make it a welcome return for Miller, making her first film since 2005's "The Ballad of Jack and Rose."
    • 49 Metascore
    • 58 Marc Mohan
    You never really end up rooting for their happiness, as a couple or individually, so emotionally there's not much at stake.
    • 49 Metascore
    • 42 Marc Mohan
    An old-fashioned story of courage and self-sacrifice in the face of war and deprivation. It's also sappy, boring and obvious.
    • 49 Metascore
    • 75 Marc Mohan
    The movie looks great, with soft-focus shots of perfectly tailored outfits masking the ugliness within.
    • 48 Metascore
    • 67 Marc Mohan
    The weirdly earnest literalism of Besson's story is a weak point. His desire to make Angela satisfy both sides of the Madonna-whore complex is too blatant.
    • 48 Metascore
    • 33 Marc Mohan
    A Lot Like Love is, well, a lot like many other movies. It's also a lot like having your eyeballs seared by a propane flame -- in a bad way.
    • 48 Metascore
    • 42 Marc Mohan
    It's almost too bad, then, that MacArthur and Jones take a back seat to the far less interesting Gen. Bonner Fellers in the stolid drama Emperor.
    • 48 Metascore
    • 67 Marc Mohan
    The ensuing love triangle culminates in a frankly loopy finale that tarnishes the film's earlier insights and ensures that it will be only remembered for some hot and heavy bedroom scenes.
    • 48 Metascore
    • 67 Marc Mohan
    Reese Witherspoon, whose production company made Penelope, contributes an inflated cameo that feels forced.

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