For 689 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 An Inconvenient Truth
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 689
689 movie reviews
    • 86 Metascore
    • 67 Marc Mohan
    Ultimately, though, it's hard not to feel like Hou is saying more explicitly and expansively in nearly two hours what Lamorisse managed to convey in only one-fourth as much film.
    • 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.
    • 56 Metascore
    • 67 Marc Mohan
    Bottle Shock never quite connects. And considering the more recent transformation of Napa, the movie's triumphant ending rings a bit false.
    • 52 Metascore
    • 67 Marc Mohan
    Grim, post-apocalyptic, special-effects extravaganza.
    • 57 Metascore
    • 67 Marc Mohan
    Doesn't have much new to offer in either style or substance. It's got the same glossy-gritty urban warfare sheen as "Black Hawk Down" and every other Third-World geopolitical action thriller of the last few years.
    • 62 Metascore
    • 67 Marc Mohan
    Ultimately, though, it's unfortunate that the movie tries to make so many oblique comparisons to more modern tragedy (paparazzi with sketchbooks; yes, we get it!), since Georgiana's life seems fascinating enough on its own.
    • 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?
    • 46 Metascore
    • 67 Marc Mohan
    Of all the roles where the star has played a character transformed from ordinary to goofy ("The Mask," "Me, Myself & Irene," "Liar Liar"), this is the one where he seems the most human, achieving that elusive quality in a Carrey film: tolerability.
    • 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.
    • 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.
    • 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.

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