For 669 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 9.5 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: 31 out of 669
669 movie reviews
    • 48 Metascore
    • 42 Marc Mohan
    The result is an exercise in emoting that features one of the worst Southern accents in recent memory and does about as much to establish the actor's range as "Battlefield Earth."
    • 47 Metascore
    • 42 Marc Mohan
    Antonio Banderas and Catherine Zeta-Jones are back, as is director Martin Campbell, but the result has the all-too-common feel of an expired equine redundantly abused.
    • 41 Metascore
    • 42 Marc Mohan
    One of the great things about international cinema is the way it can remind us of our common humanity. For instance, it's good to know that beautiful, rich people are selfish and miserable the world over. That's one of the few positives a viewer can take away from a film such as La Mujer de Mi Hermano.
    • 40 Metascore
    • 42 Marc Mohan
    The result is a sepia-toned muddle.
    • 62 Metascore
    • 42 Marc Mohan
    The sort of movie that makes you feel like a heel for not liking it: Independently made and heartfelt, it also happens to have been shot in Portland. Nonetheless, the accumulation of cliches big and small manage to erase whatever goodwill its other features have engendered.
    • 50 Metascore
    • 42 Marc Mohan
    Fiction can sometimes be used to access a deeper truth than mere fact, but in this case all it does is obscure and confuse a fascinating life story.
    • 57 Metascore
    • 42 Marc Mohan
    A bloodless film that aims for wry but leaves you merely asking "why?"
    • 45 Metascore
    • 42 Marc Mohan
    To quote Dennis Hopper from the film "Search and Destroy": "Just because it happened to you doesn't make it interesting."
    • 47 Metascore
    • 42 Marc Mohan
    Talky, didactic and essentially free of any real narrative, it views Iraq through the lens of Vietnam, which is fair enough, but ends up making the whole polemic seem like a condescending effort from aging baby boomers to get the younger generation to step up to the plate.
    • 49 Metascore
    • 42 Marc Mohan
    An old-fashioned story of courage and self-sacrifice in the face of war and deprivation. It's also sappy, boring and obvious.
    • 51 Metascore
    • 42 Marc Mohan
    For those disappointed in the grim, gritty feel of the latest James Bond movie and who long for the absurdity of the Roger Moore-era entries, Transporter 3, ought to fit the bill.
    • 53 Metascore
    • 42 Marc Mohan
    A facile, feel-good fable that substitutes cliché for reality at nearly every turn.
    • 51 Metascore
    • 42 Marc Mohan
    Whether Elia Kazan could have done something memorable with this script will remain an eternally open question. This film, though, is most effective as a reminder that Williams' works emerged from a certain time and place, and to approach them from another is fraught with peril.
    • 65 Metascore
    • 42 Marc Mohan
    This final act goes on far too long and devolves into such a miasma of pap that it's clear Stoller had no idea how to wrap things up.
    • 56 Metascore
    • 42 Marc Mohan
    It isn't a lack of realism or philosophical consistency that rankles most, though, but rather the anticlimactic story and uninteresting characters that make this Hereafter not very sweet at all.
    • 46 Metascore
    • 42 Marc Mohan
    With a self-plagiarizing premise, lifeless performances and a clunky-to-say-the-least screenplay, this star-studded flop is one of 2010's most egregious wastes of cinematic talent.
    • 69 Metascore
    • 42 Marc Mohan
    The result is a hybrid of "Falling Down" and "Short Cuts" without the iconic central character of the former or the latter's clear-eyed humanism.
    • 42 Metascore
    • 42 Marc Mohan
    Jumping repeatedly and randomly from present-day Shanghai to 1997 to 1829 and periods in between, the film has a pace that seems almost willfully tedious.
    • 48 Metascore
    • 42 Marc Mohan
    The potential for an interesting story is high. Unfortunately, Miller's autobiographical tale, as told in Blue Like Jazz, squanders this potential by failing to take place in a recognizably real world.
    • 41 Metascore
    • 42 Marc Mohan
    The whole thing has the feel of a fact-based dinner-table anecdote absurdly puffed up to feature length.
    • 58 Metascore
    • 42 Marc Mohan
    One of the most lifeless and predictable movies you're likely to see this year.
    • 40 Metascore
    • 42 Marc Mohan
    Very few will remember it in a few months, which is probably just fine with the folks who made it.
    • 52 Metascore
    • 42 Marc Mohan
    The film looks old-fashioned, too, with cinematography and special effects so reminiscent of old-school, live-action Disney flicks such as "Something Wicked This Way Comes" that you wonder if it was an aesthetic choice or a budgetary concession. Either way, it doesn't work.
    • 51 Metascore
    • 42 Marc Mohan
    As is, the slapstick humor and mild repartee won't please many with a mindset above that of a 10-year-old, while the level of (admittedly fantastical) violence might be a bit much for the pre-teen set.
    • 48 Metascore
    • 42 Marc Mohan
    It's almost too bad, then, that MacArthur and Jones take a back seat to the far less interesting Gen. Bonner Fellers in the stolid drama Emperor.
    • 33 Metascore
    • 42 Marc Mohan
    The plot is simplicity itself, and Jaden's quirk-free character and bland performance don't add anything. It's actually a little sad that M. Night Shyamalan has descended to this sort of vanity-project work-for-hire, but at least he didn't insist on some absurd twist ending.
    • 36 Metascore
    • 42 Marc Mohan
    The Canyons comes across as a desperate gambit for relevance by a group of artists who want to reinvent themselves but don't know how. Fittingly, that's the theme of the film itself.
    • 50 Metascore
    • 42 Marc Mohan
    Closed Circuit ultimately feels like a cynical attempt to capitalize on security-state anxieties while examining them in only the shallowest ways.
    • 31 Metascore
    • 42 Marc Mohan
    Flat and uninteresting, both visually and dramatically, this is a waste of two appealing actors.
    • 37 Metascore
    • 42 Marc Mohan
    It's the sort of movie that would have starred Valerie Bertinelli or Kristy McNichol back in the 1980s, tricked out with PG-13 grittiness and religious wholesomeness. It's the sort of story that ignores unpleasant social implications in favor of programmed sentiment.
    • 52 Metascore
    • 42 Marc Mohan
    The story of the rescue of these priceless artifacts is absolutely worthy of as much attention as Hollywood can provide. But by the final, self-congratulatory, groan-inducing scene, it's more than clear that this telling of it is a monumental mess.
    • 44 Metascore
    • 42 Marc Mohan
    When the fly trapped in the spider's web is as clueless and selfish as the sap played by Mark Webber in 13 Sins, it's hard to muster much sympathy.
    • 53 Metascore
    • 42 Marc Mohan
    ASM 2 makes too many of the same mistakes that have brought other superhero movies low (including Sam Raimi's "Spider-Man 3"). It tries to pack in too many characters and plot lines, for one.
    • 68 Metascore
    • 42 Marc Mohan
    Neighbors makes "Animal House" look like "Remembrances of Things Past."
    • 46 Metascore
    • 42 Marc Mohan
    The movie's biggest flaw, from a local perspective, is its unconvincing use of Vancouver, B.C., to represent Portland, Oregon.
    • 57 Metascore
    • 42 Marc Mohan
    The lunacy to which The Equalizer descends is especially disappointing because the movie starts out with some promise.
    • 52 Metascore
    • 42 Marc Mohan
    As an action spectacular, Exodus is on par with Scott's other forays into ancient times, "Gladiator" and "Kingdom of Heaven." But as a believable human drama, much less a worthy exploration of Judaism's origins, it falls flat.
    • 33 Metascore
    • 42 Marc Mohan
    Even the show-stopper "Tomorrow" comes off as half-hearted and obligatory. The choreography looks like it was improvised by the young actors who play Wallis' fellow foster kids — all listless jumping and arm-folding, no inventiveness or energy.
    • 35 Metascore
    • 33 Marc Mohan
    It's "Ocean's Eleven" for people who can't count past six.
    • 47 Metascore
    • 33 Marc Mohan
    Sayles has committed the cardinal sin of putting his politics ahead of his characters, and the result is predictably lame.
    • 48 Metascore
    • 33 Marc Mohan
    A Lot Like Love is, well, a lot like many other movies. It's also a lot like having your eyeballs seared by a propane flame -- in a bad way.
    • 45 Metascore
    • 33 Marc Mohan
    All this star power goes for naught in Traeger's film, which tries to blend bucolic sweetness with juvenile let's-make-a-porno jokes.
    • 44 Metascore
    • 33 Marc Mohan
    Every so often there's a tabloid news story about the Virgin Mary seen in a piece of toast or Mother Teresa on a tortilla, and most of us equate them with Elvis sightings. This film is for the rest.
    • 32 Metascore
    • 33 Marc Mohan
    What could have been a biting, darkly comic action flick about capitalistic health care run amok is instead a familiar, gory, post-apocalyptic slog.
    • 47 Metascore
    • 33 Marc Mohan
    The only thing Stratton, a former television actor making his first feature, has going for him is the casting of Jessica Lange.
    • 41 Metascore
    • 25 Marc Mohan
    Worthless, tasteless and unfunny.
    • 21 Metascore
    • 25 Marc Mohan
    The story is as predictable as it is saccharine. Apart from the presence of local landmarks, there's no reason the Rose City should be proud of this effort.
    • 46 Metascore
    • 25 Marc Mohan
    Here's a hint to tracking down an intelligent, discriminating significant other: stand outside the entrance to a theater showing Must Love Dogs. Once the film begins, look for the first person to walk out.
    • 31 Metascore
    • 25 Marc Mohan
    Nothing shakes this pathetic attempt at humor from its self-satisfied torpor.
    • 32 Metascore
    • 25 Marc Mohan
    This moronic yuletide time-waster might work as a way to grab a few winks at the mall during last-minute shopping, but it's not going to end up as a highlight on the resume of anyone involved.
    • 38 Metascore
    • 25 Marc Mohan
    Confused, morally queasy, self-important mess.
    • 29 Metascore
    • 25 Marc Mohan
    Reprehensible.
    • 47 Metascore
    • 25 Marc Mohan
    It's shaping up to be a long, dry summer, at least at the multiplex.
    • 41 Metascore
    • 25 Marc Mohan
    It's often said that actors with distinctive vocal styles could compellingly read the phone book -- in this case, it would absolutely be a more entertaining hour-and-a-half.
    • 45 Metascore
    • 25 Marc Mohan
    Bay seems to have been gunning for something along the lines of "Blood Simple" or "A Simple Plan," but Pain & Gain is just plain simple.
    • 37 Metascore
    • 25 Marc Mohan
    The ferociously misguided new rendition of The Lone Ranger has no legitimate reason to exist.
    • 48 Metascore
    • 25 Marc Mohan
    Directed as if it were an after-school special, with listless performances and musical numbers (Mary J. Blige shows up as a platinum-wigged congregant), Black Nativity is as simple and condescending as Hughes' work was complex and demanding.
    • 56 Metascore
    • 25 Marc Mohan
    From the evidence presented here, this film's three screenwriters have not only never taken a commercial flight, they've never met any actual human beings. The details of air travel and human behavior are equally foreign to the film.
    • 39 Metascore
    • 25 Marc Mohan
    Grating attempt at comedy, the latest failed attempt to capitalize on McCarthy's considerable charm.
    • 44 Metascore
    • 25 Marc Mohan
    If the film had been trimmed to 45 minutes of crazed storm-chasing and storm-fleeing, it might've been worth a matinee ticket. But as is, it's the sort of lazy late-summer idiocy you'd be wise to huddle beneath an overpass to avoid.
    • 25 Metascore
    • 25 Marc Mohan
    Everyone on screen looks like they'd rather be anywhere else than under the control of novice director Dustin Marcellino, whose first (and hopefully last) feature this is.
    • 46 Metascore
    • 25 Marc Mohan
    The period details are unconvincing, the cinematography is flat, and the performances are surprisingly one note considering the talent involved.
    • 30 Metascore
    • 25 Marc Mohan
    It's a thriller, if the term can be applied to an inept, perfunctory movie with more laughs than thrills — and it only has a couple laughs. Let's call it an attempted thriller and an inadvertent comedy.
    • 61 Metascore
    • 25 Marc Mohan
    The film's structure is a reminder that being Pinteresque isn't the same as being written by Harold Pinter, and its lyrics prove that there's a big difference between something Sondheim-esque and the real deal.
    • 40 Metascore
    • 16 Marc Mohan
    Clumsily animated feature; probably better as a video game than as a movie.
    • 30 Metascore
    • 16 Marc Mohan
    The movie is stunningly perfunctory, soul-crushingly oblivious to its own lack of originality, and, to be blunt, just plain dumb.
    • 23 Metascore
    • 8 Marc Mohan
    As sometimes occurs in unsupervised experiments, the result proves foul-smelling and potentially toxic.
    • Portland Oregonian
    • 25 Metascore
    • 8 Marc Mohan
    An atrocious Robin Williams vehicle that might be Hollywood's first anti-romantic comedy.
    • 31 Metascore
    • 0 Marc Mohan
    Cop Out wouldn't be as disappointing if it hadn't been made by Smith, but for those who dig the vulgar wit of his early, funny films, it's not just stupid, it's sad. At least the worst film of the year also bears its most forgettable title.

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