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 A Girl Walks Home Alone at Night
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 689
689 movie reviews
    • 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.
    • 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.
    • 75 Metascore
    • 67 Marc Mohan
    Fiennes and screenwriter Abi Morgan deserve credit for crafting something more nuanced than a mere scandal-airing demonization.
    • 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.
    • 69 Metascore
    • 67 Marc Mohan
    The performances are solid, and Juuso has a particular charisma. The actors do a commendable job of revealing unimagined layers to their initially one-note roles.
    • 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.
    • 80 Metascore
    • 67 Marc Mohan
    White God holds some fascination. But as an indictment of the evil that men do, it's all bark and no bite.
    • 54 Metascore
    • 67 Marc Mohan
    Once the quartet makes it big, things get predictable really fast. Eastwood seems to forget that audiences made The Jersey Boys a touring sensation because they love the songs, not because they want to see yet another "Behind the Music"-style tale of fame and fortune not being all they're cracked up to be.
    • 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.
    • 57 Metascore
    • 67 Marc Mohan
    Even if her turn in Bright Days Ahead feels overly familiar, especially after Deneuve's recent "On My Way," Ardant is still possessed of the same Gallic poise and presence, and generally a joy to watch.
    • 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.
    • 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.
    • 74 Metascore
    • 67 Marc Mohan
    Like "The Reader," this film treads unsteadily over the terrain of German guilt.
    • 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."
    • 68 Metascore
    • 67 Marc Mohan
    Isn't meant to be a depressing experience, as each of these unfortunate souls recovers a sense of pride in themselves and their tribe through music.
    • 73 Metascore
    • 67 Marc Mohan
    If Like Father, Like Son had set up a genuine conflict here, this could have been a fascinating, even gut-wrenching, melodrama. Instead, writer-director Hirokazu Kore-eda stacks the deck by making Ryota such a highfalutin jerk and Yudai such an exemplar of cozy, loving family life.
    • 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. 
    • 56 Metascore
    • 67 Marc Mohan
    Wants to be both a hot-button, ripped-from-the-headlines statement movie and a crowd-pleasing, rip-roaring action thriller. It ends up meeting each goal about halfway.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 67 Marc Mohan
    The juvenile performances are impressive, as they usually are in foreign films, and Spiridonov handles some grueling material with impressive maturity. But the movie comes undone with an abrupt and preposterous finale.
    • 52 Metascore
    • 67 Marc Mohan
    Grim, post-apocalyptic, special-effects extravaganza.
    • 51 Metascore
    • 67 Marc Mohan
    The movie runs the risk of coming off as misogynistic tripe, especially considering it was written by two men and directed by another. Somehow it avoids that fate, rising to the level of a serviceable YA fantasy about the way mortality gives meaning to life.
    • 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.
    • 57 Metascore
    • 67 Marc Mohan
    It doesn't take an awareness of the ethnic and cultural differences between the miniskirted siren and the shy Arab youth to see that she might be more than he can handle.
    • 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.
    • 59 Metascore
    • 67 Marc Mohan
    Tries to pretend that its premise isn't timeworn, and thanks to charming lead performances, it almost succeeds. But not quite.
    • 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.

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