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
    • 67 Metascore
    • 83 Marc Mohan
    With less intelligence behind it, this could have easily been one of those films that seem like they were more fun to make than to watch. Instead, it's a thoroughly good time at the movies, from humble beginning to cosmic, surprise-cameo-featuring end.
    • 63 Metascore
    • 83 Marc Mohan
    World War Z manages to be scary without descending to in-your-face gore -- it wants to frighten its audience, not disgust them.
    • 78 Metascore
    • 83 Marc Mohan
    It's a pleasant, engaging version of probably the closest thing to a sitcom the Bard ever penned.
    • 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.
    • 68 Metascore
    • 83 Marc Mohan
    Co-directors Nat Faxon and Jim Rash, who won an Oscar for writing "The Descendants," are smart enough to mostly stay out the way and let this talented crew bring their script to life.
    • 60 Metascore
    • 83 Marc Mohan
    The movie's a solid fish-out-of-water thriller that just happens to be populated by a few folks with adamantium skeletons or poison saliva on their résumés.
    • 85 Metascore
    • 83 Marc Mohan
    As storytelling, it's extremely effective.
    • 67 Metascore
    • 83 Marc Mohan
    With barely a hint of trippy visuals, it captures the highs and lows of one mind-expanding surfside day.
    • 82 Metascore
    • 83 Marc Mohan
    Social critique isn't the main concern of director James Ponsoldt ("Smashed"). What he does is take us inside an unexpected, but not unrealistic, high school relationship and provide a splendid stage for two young and very promising actors.
    • 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.
    • 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.
    • 86 Metascore
    • 83 Marc Mohan
    Even the tiny roles in this Rockwell-meets-Breughel panorama are perfectly, although almost cruelly, cast.
    • 74 Metascore
    • 83 Marc Mohan
    Engaging characters, an unforced pro-girl agenda and amusing songs make this at least the equal to last year’s “Brave.”
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 83 Marc Mohan
    A crowd-pleasing import that would leave only the most steadfast curmudgeon unmoved.
    • 90 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.
    • 87 Metascore
    • 83 Marc Mohan
    The Missing Picture feels akin to last year's great documentary, "The Act of Killing."
    • 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.
    • 74 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.
    • 79 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.
    • 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.
    • 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.
    • 74 Metascore
    • 83 Marc Mohan
    Hold onto your hats, True Believers! This one's got the most massive, momentous montage of Marvel's merry mutants ever mashed into one movie!
    • 71 Metascore
    • 83 Marc Mohan
    Liman stages the chaotic action scenes, including several iterations of the beach assault, with clarity, precision, and wit. This is his best movie since 2002's "The Bourne Identity."
    • 76 Metascore
    • 83 Marc Mohan
    Politics aside, Obvious Child hinges on Slate's performance, which is endearing and real.
    • 65 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.

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