For 753 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 7.7 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Goodbye Solo
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 38 out of 753
753 movie reviews
    • 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.
    • 45 Metascore
    • 67 Marc Mohan
    It's a refreshingly human-scale saga.
    • 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.
    • 61 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.
    • 69 Metascore
    • 67 Marc Mohan
    Provides adventure and humor in sufficient spoonfuls to make its pro-environment medicine go down smoothly for the target audience of grade-schoolers.
    • Portland Oregonian
    • 61 Metascore
    • 67 Marc Mohan
    Once the story proper begins, it too feels slightly out of time.
    • 41 Metascore
    • 67 Marc Mohan
    With a titanium body and a child's mind, Chappie is a fascinating figure, vividly rendered, enough so that you wish there was a better movie around him.
    • 72 Metascore
    • 67 Marc Mohan
    Despite convincing work from its cast, the movie remains oddly uninvolving.
    • 56 Metascore
    • 67 Marc Mohan
    Joy
    An inspirational, and mostly entertaining, saga, Joy is a Horatio Alger story for the 21st century — but who reads those anymore?
    • 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.
    • 39 Metascore
    • 67 Marc Mohan
    Theron makes Libby a bristling, emotionally crippled live wire, her anger, guilt, and distrust bubbling to the surface with the slightest provocation. She's neither quite as fascinating nor nearly as despicable a character as "Gone Girl"'s Amazing Amy, but director Gilles Paquet-Brenner is no David Fincher.
    • 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.

Top Trailers