For 642 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 All Is Lost
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 29 out of 642
642 movie reviews
    • 64 Metascore
    • 83 Marc Mohan
    There's something in this nostalgic, lovingly photographed film about the transition from the classical art of painting to the new art of the cinema, as embodied by one of the greatest practitioners of each. The independent-minded Andrée, who would go on to marry Jean Renoir and star in several of his early films, is presented as something more than a mere muse, if something less than a full-fledged character.
    • 56 Metascore
    • 83 Marc Mohan
    Not only compelling and complex, but educational.
    • 67 Metascore
    • 83 Marc Mohan
    With barely a hint of trippy visuals, it captures the highs and lows of one mind-expanding surfside day.
    • 86 Metascore
    • 83 Marc Mohan
    Even the tiny roles in this Rockwell-meets-Breughel panorama are perfectly, although almost cruelly, cast.
    • 90 Metascore
    • 83 Marc Mohan
    Her
    As the relationship between Theodore and Samantha evolves, it hews too closely to the expected arc of a romantic drama. In a desire to show how such a pairing could produce the same joys, sorrows, jealousies and insecurities as a human-to-human one, the movie edges close to parody, which it doesn't want to be.
    • 63 Metascore
    • 83 Marc Mohan
    Israeli director Ari Forman, whose 2009 "Waltz with Bashir" earned a Best Foreign Film Oscar nomination, is a master at exploiting diverse animated styles, and draws a brave starring performance from a performer who, in her mid-40s, seems to be just hitting her stride.
    • 77 Metascore
    • 83 Marc Mohan
    Plot takes a back seat to style and attitude, as it often does in Jarmuch's world, which can make the last half-hour of the movie drag a bit. But when that means getting to hang out with two fascinating creatures of the night, played by two fascinating performers, that's a perfectly valid trade-off.
    • 68 Metascore
    • 83 Marc Mohan
    For most of its running time, How to Make Money Selling Drugs is a cheeky, moderately interesting look behind the curtain of the trade in contraband substances, from the corner dealer to the cartel-topping drug lord.
    • 58 Metascore
    • 83 Marc Mohan
    The actual video footage of some of the incidents recreated in the film, which play with the end credits, makes it clear that sometimes reality can be as hokey as fiction.
    • 71 Metascore
    • 83 Marc Mohan
    It’s possible the movie’s actually too unflinching; there are moments where your nose is dangerously close to being rubbed in this pile of emotional trauma. Then again, when you come from the same country as the Dardennes brothers, you’ve got to pull out all the stops to compete in the misery department.
    • 62 Metascore
    • 83 Marc Mohan
    The worry regarding 2014's Godzilla was that it would seem like a retread of recent big-budget monster mashes "Cloverfield" or "Pacific Rim," or, worse yet, that it would sink to the depths of the 1998 American reboot. Happily, though, this one can stand on its own two enormous three-toed feet.
    • 78 Metascore
    • 83 Marc Mohan
    There seems to be less acting going on and more being, which not only makes this an enormously affecting penultimate performance (Gandolfini’s final film, “Animal Rescue,” will be released next year), but reinforces the brilliance of the darker work for which he will no doubt remain best known.
    • 55 Metascore
    • 83 Marc Mohan
    The star's innate vulnerability (and his ease with Dom's colorful but expansive vocabulary) makes the character more sympathetic than he has any right to be. And that, in turn, makes Shepard's film more entertaining than the Guy Ritchie ripoff it initially resembles.
    • 60 Metascore
    • 83 Marc Mohan
    C.O.G. is probably of the most interest to Sedaris fans curious to see how the humorist’s unique tone translates to film (the answer is moderately well).
    • 63 Metascore
    • 83 Marc Mohan
    The Summit does an amazing job of putting you on the mountain, making it one of the most terrifying horror films a climber or an acrophobe could ever see.
    • 63 Metascore
    • 83 Marc Mohan
    van Dormael’s vivid visual sense and genuine curiosity about the nature of love and life, time and death, make it well worth surrendering to his imagination for a while.
    • 87 Metascore
    • 83 Marc Mohan
    The Missing Picture feels akin to last year's great documentary, "The Act of Killing."
    • 76 Metascore
    • 83 Marc Mohan
    Overall, though, the combination of Gondry’s whimsicality and Chomsky’s stoicism creates fascinating oil-and-water patterns that reveal more the longer they’re contemplated.
    • 75 Metascore
    • 83 Marc Mohan
    A second helping of a satisfying dish.
    • 73 Metascore
    • 83 Marc Mohan
    As usual in Le Carre's world (and the real one), a measured, rational approach faces an uphill battle against the philistines who really run the show. That predictably weary attitude is both the best — as embodied in Hoffman's performance — and worst — in its weary predictability — things about A Most Wanted Man.
    • 74 Metascore
    • 83 Marc Mohan
    Wiig, following the big-screen breakthrough of "Bridesmaids," has dipped her toes into dramatic waters, but for Hader, The Skeleton Twins is a revelation.
    • 76 Metascore
    • 83 Marc Mohan
    A crowd-pleasing import that would leave only the most steadfast curmudgeon unmoved.
    • 75 Metascore
    • 83 Marc Mohan
    Hers is a sad story, but the fact that she never received recognition during her lifetime isn't part of its sadness.
    • 75 Metascore
    • 83 Marc Mohan
    Politics aside, Obvious Child hinges on Slate's performance, which is endearing and real.
    • 89 Metascore
    • 83 Marc Mohan
    Ida
    Just as austere and demanding as you'd expect a black-and-white film about a Polish nun to be. Don't let that scare you, though.
    • 71 Metascore
    • 83 Marc Mohan
    A surprisingly in-depth and confrontational examination into the obesity epidemic among Americans, especially children, over the last 30 years.
    • 64 Metascore
    • 83 Marc Mohan
    If Rod Serling had hired Robert Altman to direct a "Twilight Zone" episode, it might have turned out something like this.
    • 71 Metascore
    • 83 Marc Mohan
    Canadian director Richie Mehta ("Amal") based Siddharth on his own random encounter with a father searching for his missing son, and the film never feels less than utterly real in its depiction of both everyday Indian life and the hopelessness that comes so naturally in this sort of tragic situation.
    • 76 Metascore
    • 83 Marc Mohan
    He's an engaging, profane interview subject, and a complex guy, self-described as both a "pervert" and a "romantic," sexually omnivorous, a Goldwater Republican before being drafted and sent to Vietnam, a McCarthyite peacenik afterward.
    • 52 Metascore
    • 83 Marc Mohan
    The movie wobbles as it approaches the home stretch, but, thanks to its leading man, manages to stick the landing.