For 750 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 8.8 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Manchurian Candidate
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 38 out of 750
750 movie reviews
    • 70 Metascore
    • 75 Marc Mohan
    It's not without one or two missteps, but remains likely the most impressive juvenile acting you'll see this year.
    • 73 Metascore
    • 75 Marc Mohan
    With solid performances, competent direction and artfully drab cinematography, the film would be indistinguishable from a Hollywood thriller if not for the Flemish dialogue. It's no surprise to learn that an American remake is in the works.
    • 60 Metascore
    • 75 Marc Mohan
    The question that lies at the heart of the documentary Aristide and the Endless Revolution is whether his exile was his own idea or whether he was pressured, even kidnapped, by the United States.
    • 60 Metascore
    • 75 Marc Mohan
    For gourmands who appreciate this sort of cinematic comfort food, though, The White Countess is a fitting finale for the producer.
    • 70 Metascore
    • 75 Marc Mohan
    With a predictable and borderline manipulative plot, Tsotsi depends on strong performances for its impact, and its cast delivers.
    • 61 Metascore
    • 75 Marc Mohan
    Three potent performances readily compensate for the familiar plot.
    • 57 Metascore
    • 75 Marc Mohan
    A sometimes very funny movie made by very funny people.
    • 43 Metascore
    • 75 Marc Mohan
    Mostly it's about taxes -- namely, the argument that the Federal Income Tax, enacted in 1913, is unconstitutional and has been ruled as such by the Supreme Court, and that no law exists today requiring Americans to pay it.
    • 64 Metascore
    • 75 Marc Mohan
    Despite the accumulated facts, the lack of any commentators outside Kushner's circle of family and admirers and the refusal, in fact, to wrestle with the thornier questions of identity and criticism make this a worthwhile but imperfect film.
    • 75 Metascore
    • 75 Marc Mohan
    Sweet Land brushes against the true spirit of American independent cinema.
    • 49 Metascore
    • 75 Marc Mohan
    Is it a worthwhile movie? Yes, for the most part.
    • 58 Metascore
    • 75 Marc Mohan
    While these interviews are affecting, and the movie talks about suicide in a refreshingly straightforward manner, it's the images of these actual deaths that induce horrified gasps.
    • 61 Metascore
    • 75 Marc Mohan
    Generally, thanks to solid performances and very nice cinematography, it hits, if not a home run, at least a solid double (or the British equivalent).
    • 64 Metascore
    • 75 Marc Mohan
    What makes Freedom Writers work is the very thing that makes it seem like a drag: predictable inspiration.
    • 65 Metascore
    • 75 Marc Mohan
    In 1960, British director Michael Powell made "Peeping Tom," the definitive exploration of voyeurism in the movies. The shocking thriller also practically ruined the career of the veteran filmmaker. Although the stalker-centric Alone With Her doesn't quite rank with Powell's masterpiece, it shows enough promise that one hopes writer/director Eric Nicholas doesn't share his fate.
    • 65 Metascore
    • 75 Marc Mohan
    At its core, the story is a Mars vs. Venus case study.
    • 80 Metascore
    • 75 Marc Mohan
    Being a fairly faithful adaptation, this version also has a lot of that other stuff about the hypocrisy of civilized life, the truthfulness of natural splendor and so forth.
    • 61 Metascore
    • 75 Marc Mohan
    LaBeouf is likable and grounded, two things you need from the lead in a film like this, although his female co-stars seem to have been cast based on how well their Maxim covers would sell.
    • 64 Metascore
    • 75 Marc Mohan
    While the subject matter is certainly American enough, it seems possible the original had a bit more depth.
    • 59 Metascore
    • 75 Marc Mohan
    Sometimes it's fun to put on costumes and wigs and just goof around.
    • 67 Metascore
    • 75 Marc Mohan
    The bickering lovers are generally likable, as are her quintessentially and hilariously Gallic parents (played by Delpy's real mom and dad).
    • 61 Metascore
    • 75 Marc Mohan
    The domestic and romantic turmoil all gets resolved a bit too neatly to seem realistic, but realism isn't the goal; this is comfort food, plain and simple, and achieves its modest goals in nearly effortless fashion.
    • 66 Metascore
    • 75 Marc Mohan
    The overall effect of the movie is to make you wish there were a statute of limitations on how long maladjusted adults are allowed to blame their parents before it's OK to holler, "Get over it, people!"
    • 71 Metascore
    • 75 Marc Mohan
    Though it's well-cast and convincingly captures the look and feel of its era, the film loses steam as Accio's story meanders to a predictable conclusion.
    • 70 Metascore
    • 75 Marc Mohan
    Just because others bear blame for what went on doesn't mean they bore none, and while the deal they got was raw, they never lacked the ability to say no.
    • 79 Metascore
    • 75 Marc Mohan
    Youth may be wasted on some of the young, but the two aspiring Norwegian novelists at the center of Reprise, director Joachim Trier's debut feature, try desperately to avoid that particular cliche.
    • 61 Metascore
    • 75 Marc Mohan
    Loses something when it depends on its computer-generated creatures to carry the story. The effects are a mile above the previous Hulk film, but there's still a certain awkwardness to some movements, and an odd lack of definition to the massive muscles that makes them seem like gelatinous sacks of meat.
    • 75 Metascore
    • 75 Marc Mohan
    Director Jan Hrebejk and screenwriter Petr Jarchovsky ("Divided We Fall," "Up and Down") have crafted another well-observed tale, one with no heroes or villains, just people trying to make something of the situations in which they find themselves. And, with a nicely ambiguous ending, it's drama enough.
    • 78 Metascore
    • 75 Marc Mohan
    What's different here is the setting: Instead of modern-day misogyny, the heroine of The Last Mistress is up against its 19th-century version.
    • 62 Metascore
    • 75 Marc Mohan
    A mordant, almost-too-dark comedy, but a comedy nonetheless.

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