For 697 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 Life Itself
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 697
697 movie reviews
    • 73 Metascore
    • 67 Marc Mohan
    Despite convincing work from its cast, the movie remains oddly uninvolving.
    • 77 Metascore
    • 67 Marc Mohan
    A Band Called Death is more effective as a chronicle of the intensely close relationship between three musically ambitious brothers than as proto-punk archaeology.
    • 37 Metascore
    • 67 Marc Mohan
    Comes up with some decent jokes, including a talking car-based GPS system which doubles as a therapist, and a suggestive Yonica number titled "I Want to Blow You Up," but fails to surround them with a compelling story or characters who rise above the level of cliche.
    • 43 Metascore
    • 67 Marc Mohan
    When characters are required to grow old over the course of a decades-spanning story, as in Love in the Time of Cholera, it's still a hit-or-miss proposition whether the combination of makeup and performance skills will convince us that a character is 40 years older than the actor.
    • 55 Metascore
    • 67 Marc Mohan
    But if the notion that Austen was more reactive than creative in her writing is troubling, so is the idea that she needed Lefroy to make her into a great writer. "Experience is vital," he tells her. We should be glad this guy never got his paws on Emily Dickinson.
    • 54 Metascore
    • 67 Marc Mohan
    The characters are flat, too: Richard Gere plays your typical desperate, embittered war reporter; Terrence Howard is your typical cameraman/sidekick/narrator; and Jesse Eisenberg rounds out the standard-issue trio as your typical nervous rookie, in over his head.
    • 48 Metascore
    • 67 Marc Mohan
    Reese Witherspoon, whose production company made Penelope, contributes an inflated cameo that feels forced.
    • 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.
    • 80 Metascore
    • 67 Marc Mohan
    Only in the slightly overlong last act, as the family's misfortunes become truly existential, does director Kiyoshi Kurosawa take things to another level. Whether this is an extension of the film's social criticism, a comment on the absurdity of melodrama or straightforward audience manipulation, is anyone's guess.
    • 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.
    • 47 Metascore
    • 67 Marc Mohan
    Delivers the expected thrills and groans.
    • 59 Metascore
    • 67 Marc Mohan
    Sayles has always had a gift for female characters, and Go for Sisters features a couple of good ones.
    • 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.
    • 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.
    • 66 Metascore
    • 67 Marc Mohan
    The actions of both these vilified parties are so seemingly irrational that you're left feeling there must be some explanation, one that director Todd Douglas Miller either couldn't or wouldn't ferret out.
    • 54 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.
    • 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.
    • 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.
    • 72 Metascore
    • 67 Marc Mohan
    While In Bloom offers an authentic slice of life from a particular time and place, it never gets close enough to its characters, physically or emotionally, to really hit home.
    • 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.
    • 69 Metascore
    • 67 Marc Mohan
    In trying to make Kalmen's story unique, the film inadvertently exposes him as the most typical sufferer of midlife crises you could imagine.
    • 45 Metascore
    • 67 Marc Mohan
    The line between fearlessness and idiocy can be a thin one, especially in this sport, and the doc never gets too far under Way's skin. But when he soars -- on a skateboard! -- above the massive structure that kept invading armies at bay for centuries, it's pretty darn cool.
    • 40 Metascore
    • 67 Marc Mohan
    The one unforgivable crime committed in this remake is the lack of the original's most famous line of dialogue: "Klaatu barada nikto." Would it have been so tough to squeeze that in somewhere?
    • 32 Metascore
    • 67 Marc Mohan
    Charles Grodin, in his first film in a dozen years, provides some of the best moments as Sofia's dad, while Mia Farrow is kind of creepy as her mom.
    • 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.
    • 61 Metascore
    • 67 Marc Mohan
    Israeli society is one that has ample experience processing grief, and Nina's Tragedies explores that challenge with humanity and humor.
    • 55 Metascore
    • 67 Marc Mohan
    There's fun to be had in the re-creation of indelible screen moments, including several with Scarlett Johansson as Janet Leigh and James D'Arcy as Anthony Perkins.
    • 72 Metascore
    • 67 Marc Mohan
    There's much to admire here, but less to like.
    • 68 Metascore
    • 67 Marc Mohan
    The East never goes as deep undercover as it should.
    • 57 Metascore
    • 67 Marc Mohan
    Overall, there's a patchwork quality to the movie, as if a batch of half-finished short stories were filmed before their time.

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