For 639 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 The Manchurian Candidate
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 29 out of 639
639 movie reviews
    • 63 Metascore
    • 58 Marc Mohan
    Made with a slapdash non-style that doesn't seem quite lame enough to have been intentional, this aptly titled low-budget horror comedy serves up tame amounts of both guts and gut-busters.
    • 71 Metascore
    • 58 Marc Mohan
    A rather schizophrenic comedy that gives respected performers Dame Judi Dench and Bob Hoskins a chance to show they don't take themselves too seriously.
    • 56 Metascore
    • 58 Marc Mohan
    Harris gamely attacks his tortured, cliche-ridden character, but Deschanel, so likably offbeat in "All the Real Girls" and "The Hitchhiker's Guide to the Galaxy," comes off as just plain annoying and self-centered.
    • 63 Metascore
    • 58 Marc Mohan
    ATL
    Ultimately, ATL is the same old teenager angst in a mildly novel package.
    • 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.
    • 63 Metascore
    • 58 Marc Mohan
    Papale's story is more than any fan could dream of, which is why it's frustrating that Invincible feels the need to embellish it. While mentioning he never played football in college, the film ignores that he did play in a semipro league prior to his Eagles tryout.
    • 53 Metascore
    • 58 Marc Mohan
    Moderately amusing.
    • 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.
    • 66 Metascore
    • 58 Marc Mohan
    The result is a cast of characters who are little better than automatons themselves. This wouldn't be a problem if the rest of the film were as captivating as it was surely meant to be. Instead, the Quays work overtime to make both their story line and images as obscure as possible.
    • 77 Metascore
    • 58 Marc Mohan
    Herzog's drive to bring Dengler's story to a wide audience might have paradoxically caused him to do what he seems normally to abhor: compromise.
    • 54 Metascore
    • 58 Marc Mohan
    Instead of a unique directorial style and a memorable soundtrack, we get a movie that, visually and aurally, pretty much goes by the book.
    • 45 Metascore
    • 58 Marc Mohan
    It says a lot about this movie that the most arresting character in it is Mary, whom Morton unsurprisingly endows with a fanatical combination of narcissism and rage.
    • 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.
    • 65 Metascore
    • 58 Marc Mohan
    Ultimately, the movie takes its characters, and the absurd ethical dilemma it subjects them to, far too seriously.
    • 56 Metascore
    • 58 Marc Mohan
    The plot, as hinted, goes strictly by the "How April Got Her Groove Back" book, but it must be said that the performances push it a notch above pedestrian.
    • 47 Metascore
    • 58 Marc Mohan
    If the title hadn't already been taken by another equally strained recent comedy, the new Kevin Costner vehicle could have been dubbed "Idiocracy."
    • 53 Metascore
    • 58 Marc Mohan
    It's not a political film, but it's also not a bland recitation of homilies about the honor of serving one's country. It's a jokey road movie, in which three soldiers heading home from Iraq are forced into a cross-country van ride together.
    • 57 Metascore
    • 58 Marc Mohan
    No matter how noble, not everyone's life should be made into a movie.
    • 35 Metascore
    • 58 Marc Mohan
    It devolves too often into slapstick shenanigans and comedy of embarrassment.
    • 40 Metascore
    • 58 Marc Mohan
    Politics and art come together in predictable, moderately enjoyable fashion in Paris 36.
    • 64 Metascore
    • 58 Marc Mohan
    Once all the pieces of the story are assembled, the whole thing turns out to be not that big of a deal.
    • 58 Metascore
    • 58 Marc Mohan
    This may have been fertile grounds for satire in 1925, when Noel Coward's drawing-room melodrama Easy Virtue debuted on the stage, but by now this film version feels rather done.
    • 45 Metascore
    • 58 Marc Mohan
    Portland's dreary climate is used to good effect, but it's not enough to make up for the director's needlessly convoluted approach.
    • 30 Metascore
    • 58 Marc Mohan
    Isn't a complete waste of time. If Kutcher seeks to transition from national joke to lightweight actor, he's made a decent stab at it.
    • 61 Metascore
    • 58 Marc Mohan
    Although the primary plot line turns out to be a letdown, there are aspects of The Machinist that redeem it. Bale's performance is one; another is the dull, metallic look of the picture.
    • 70 Metascore
    • 58 Marc Mohan
    The real star of the film is Horton, whose straight-talking ways and supportive circle of friends are a stark contrast to the haughty insults of academia.
    • 47 Metascore
    • 58 Marc Mohan
    The oddball cast, by the way, includes Sonic Youth's Kim Gordon, who is infinitely more convincing speaking Cantonese than she is in her (presumably native) English.
    • 57 Metascore
    • 58 Marc Mohan
    The ensemble can't bring enough, though, to overcome the unoriginal setup and predictable story arc.
    • 60 Metascore
    • 58 Marc Mohan
    What could have been a complex portrait of a flawed man dealing with the perils of success ends up far less interesting.
    • 52 Metascore
    • 58 Marc Mohan
    The increasingly unlikely escapades culminate in a finale that's as narratively lazy as it is morally questionable, lending further credence to the voices that proclaimed Haggis absurdly overpraised for the 2004 Oscar-winner "Crash."