For 752 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 8.1 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: 38 out of 752
752 movie reviews
    • 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.
    • 68 Metascore
    • 67 Marc Mohan
    He's good, but Depp can't quite annihilate the self-consciousness that makes some of his more light-hearted work shine. Too often, it feels like he's channeling other actors: here he's Jack Nicholson with Hunter S. Thompson's nose, there he's an Irish-American Ray Liotta.
    • 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.
    • 49 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.
    • 65 Metascore
    • 67 Marc Mohan
    In the end, as gay people and other marginalized groups throughout history have shown, the only real solution is to learn not to be agonized or ashamed over differences, but to celebrate them with pride.
    • 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.
    • 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.
    • 56 Metascore
    • 67 Marc Mohan
    The Manson Family, with its attention to historical detail and chronology, is more effective and disturbing than those grade-Z shockers: It's a genuine look at unmitigated madness and evil. Needless to say, don't bring the kids.
    • 69 Metascore
    • 58 Marc Mohan
    It's neither grounded enough to be genuinely horrifying nor over the top enough to be nastily fun.
    • 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.
    • 57 Metascore
    • 58 Marc Mohan
    The ensemble can't bring enough, though, to overcome the unoriginal setup and predictable story arc.
    • 56 Metascore
    • 58 Marc Mohan
    The only problem is that he's been such a shallow, ridiculous figure that exhuming any real sympathy for the guy is a Herculean task.
    • 53 Metascore
    • 58 Marc Mohan
    Moderately amusing.
    • 55 Metascore
    • 58 Marc Mohan
    If the two most gorgeous people in the world alternately bantering and making out isn't enough to compel the attention of the average American moviegoer, then we are truly doomed.
    • 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."
    • 65 Metascore
    • 58 Marc Mohan
    Whereas Carver writes about alcoholics, this movie is about alcoholism, which is completely different.
    • 42 Metascore
    • 58 Marc Mohan
    A thoroughly mundane experience.
    • 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.
    • 41 Metascore
    • 58 Marc Mohan
    Perhaps the most curious omission from the movie Grassroots is that there's no mention at all of the classic "Simpsons" episode "Marge vs. the Monorail."

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