For 670 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 9.6 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Manchurian Candidate
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 31 out of 670
670 movie reviews
    • 74 Metascore
    • 67 Marc Mohan
    Like "The Reader," this film treads unsteadily over the terrain of German guilt.
    • 45 Metascore
    • 67 Marc Mohan
    It's a refreshingly human-scale saga.
    • 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.
    • 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.
    • 66 Metascore
    • 67 Marc Mohan
    A solid, twisting, well-acted mystery, but it strains credulity at times, and its ultimate revelations are unsurprising and, when you think back on the whole film, confusing. It also lacks a distinctive atmosphere, shot in an almost TV-style flatness.
    • 69 Metascore
    • 67 Marc Mohan
    The world depicted in Mark Romanek's Never Let Me Go is among the more beautiful dystopias in film history.
    • 55 Metascore
    • 67 Marc Mohan
    They could have made a harder-hitting, more realistic film, but then no one would have gone to see it.
    • 64 Metascore
    • 67 Marc Mohan
    The performances are solid, the cinematography is stunning, and the setting is intriguing. But the whole thing feels bloodless, hitting us over the head with its understatedness. Anytime a film's soundtrack features The Shins, James Taylor, and Nick Drake, you know you're in for an overly laid back time.
    • 72 Metascore
    • 67 Marc Mohan
    The movie shifts awkwardly from slapstick firearms training sessions to tender campfire kisses to straightforward suspense (who are those mysterious trench-coated figures?). Combined with unconvincing behavior from all of its characters, that's enough to leave this a disappointing realization of a potentially fascinating idea.
    • 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.
    • 65 Metascore
    • 67 Marc Mohan
    It takes an almost bracingly explicit attitude toward issues of sexual intimacy, to the degree that just seeing this film might count as therapy for some married couples. The PG-13 rating is justified, and should be taken literally, though I can't imagine too many parents bringing their kids to this one. Talk about an awkward car ride home. 
    • 55 Metascore
    • 67 Marc Mohan
    More convincing are the performances from Jenkins and Allison Janney, as another of Jesse's old profs. Both these pros bring more depth to their supporting characters than either of the promising, but, alas, young, leads do to theirs.
    • 70 Metascore
    • 67 Marc Mohan
    The environment is one of unrelenting cruelty and misanthropy, which certainly brings out the novel's darker themes, but can be something of a slog to watch.
    • 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.
    • 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.
    • 55 Metascore
    • 67 Marc Mohan
    Unfortunately, the movie isn't a real success, as director Roger Michell ("Notting Hill") is both too ambitious in the story he tries to tell and not ambitious enough in the way he tells it.
    • 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.
    • 63 Metascore
    • 67 Marc Mohan
    The cinematic technique of director Tom Hooper tries to replicate the appeal which has drawn millions to stage performances, but comes up more than a little short. This version of Les Misérables simply doesn't sing.
    • 76 Metascore
    • 67 Marc Mohan
    Spoofing the pernicious effects of television, especially the so-called reality genre, doesn't require pinpoint aim, and at times Luciano seems as much a target of ridicule as the superficial, oversexed entertainment served up on the tube.
    • 76 Metascore
    • 67 Marc Mohan
    Like Someone in Love meanders with intention toward a bittersweet resolution, but then pulls the rug out from under you in a cruelly ambiguous shot.
    • 56 Metascore
    • 67 Marc Mohan
    Even if Salles' film can't possibly capture the impact of its source, it's intriguing enough to rate a place in the ever-expanding mythology of "the mad ones, the ones who are mad to live."
    • 71 Metascore
    • 67 Marc Mohan
    The animation is pretty and clean, reminiscent of other Studio Ghibli films like "Whisper of the Heart," but never achieves wondrous artistry.
    • 58 Metascore
    • 67 Marc Mohan
    Lyrical and gorgeous, it indulges in enough trademark Malickian touches to seem almost a parody of itself.
    • 54 Metascore
    • 67 Marc Mohan
    Since the revelation of Wall Street's culpability for the 2008 economic crisis, though, the arc of Changez's transformation feels almost clichéd, despite Ahmed's earnest, effective performance.
    • 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.
    • 68 Metascore
    • 67 Marc Mohan
    The East never goes as deep undercover as it should.
    • 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.
    • 74 Metascore
    • 67 Marc Mohan
    It’s disappointing that, with such talent and seriousness of intent, the movie ultimately doesn't have much new to say. To paraphrase “The Simpsons”’ Milhouse, it started out like "Bonnie and Clyde," but instead it ended in tragedy.
    • 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.

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