For 688 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 9.3 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Goodbye Solo
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 33 out of 688
688 movie reviews
    • 44 Metascore
    • 75 Marc Mohan
    Most of the time, though, it's a confusing mishmash featuring a fine actor too willfully operating outside his comfort zone.
    • 56 Metascore
    • 75 Marc Mohan
    When it's not lapsing into disease-of-the-week prose, Adam presents a credible account of the challenges inherent in this misunderstood and often-ridiculed condition.
    • 75 Metascore
    • 75 Marc Mohan
    Sweet Land brushes against the true spirit of American independent cinema.
    • 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!"
    • 74 Metascore
    • 75 Marc Mohan
    There's an inherent contradiction at the film's core: this sexually explicit motion picture, seemingly made by and for altered consciousnesses, is all about how an innocent newcomer falls prey to gin, sex, and television.
    • 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.
    • 65 Metascore
    • 75 Marc Mohan
    At its core, the story is a Mars vs. Venus case study.
    • 65 Metascore
    • 75 Marc Mohan
    Director Jim deSeve has done an excellent job of providing both historical and personal perspective on a topic that provokes heated emotional reactions.
    • 56 Metascore
    • 75 Marc Mohan
    Disco scholars convincingly analyze lyrics and fashions as presenting bold expressions of sexuality and democratic hedonism, while Kastner doesn't skimp on the vintage clips, which range from unintentionally hilarious to surprisingly impressive.
    • 55 Metascore
    • 75 Marc Mohan
    Home is like when someone gets you a birthday present by just clicking on an item from your Amazon wish list. It's well-made, suitable, and appreciated, but there wasn't really any thought put into it.
    • 83 Metascore
    • 75 Marc Mohan
    Without a more coherent perspective, the movie remains a collection of genuinely scary scenes and not much more.
    • 51 Metascore
    • 75 Marc Mohan
    It does assemble a compelling collage from the experiences of several real-life witnesses to the event and its aftermath.
    • 55 Metascore
    • 75 Marc Mohan
    What this alteration says about societal trends of the past three decades is open to debate, but the change is a tiny hint that earnest fidelity to the source was not a top priority.
    • 62 Metascore
    • 75 Marc Mohan
    If your tolerance for envelope-pushing crudeness and deadpan delirium allows it, this crass comedy might be just what the gastroenterologist ordered.
    • 79 Metascore
    • 75 Marc Mohan
    The clichés at its core make Metalhead something less than a full-bore, head-banging triumph. But it does perform the service of reminding us that even Judas Priest is capable of saving souls, and any film that features a cross-generational dance-off to Megadeth's "Symphony of Destruction" can't be all bad.
    • 74 Metascore
    • 75 Marc Mohan
    The central figure in The Attack is the very picture of a tolerant, integrated future for the Mideast. When a horrific blast kills 17 people and sends dozens of wounded to his hospital, he's elbow-deep trying to save the victims, even the one who refuses help from an Arab.
    • 55 Metascore
    • 75 Marc Mohan
    The rhetorically stacked deck, and some unconvincing third-act plot twists, get in the way of this movie's efforts to reach the cinematic promised land of true greatness.
    • 66 Metascore
    • 75 Marc Mohan
    With a deft touch that veers from wry, absurd humor to appalled outrage, the Italian journalist and satirist Pierfrancesco Diliberto makes a noteworthy film debut with The Mafia Kills Only in the Summer.
    • 56 Metascore
    • 75 Marc Mohan
    As in many of Smith's earlier movies, the moments of ostensibly genuine emotion aren't nearly as convincing as the moments of juvenile obscenity and quasi-homophobia.
    • 64 Metascore
    • 75 Marc Mohan
    David Ayer's film is a gory, muddy, downbeat tale of war's hellishness and the fraternal bond between those stuck in the middle of it. It's also, like "Ryan," full of tense, grippingly staged action scenes that capture moments of pure adrenaline, and it's the tension between those two impulses that makes "Fury" fascinating and ultimately flawed.
    • 64 Metascore
    • 75 Marc Mohan
    While the subject matter is certainly American enough, it seems possible the original had a bit more depth.
    • 67 Metascore
    • 75 Marc Mohan
    Once things get going, and especially when Moore takes center stage, "Maps" becomes more involving, sometimes queasily funny, and even, almost despite itself, a tiny bit moving. Hooray for Hollywood, indeed.
    • 74 Metascore
    • 75 Marc Mohan
    Convincing performances from Hemingway and the charmingly crabby Johnson and an unhurried pace ensure that Baker's film achieves its modest goals.
    • 79 Metascore
    • 75 Marc Mohan
    It proves the power of a good story, both to entertain us and to allow us to process unpleasant truths.
    • 72 Metascore
    • 75 Marc Mohan
    This movie about a great woman and a great man ends up merely good.
    • 73 Metascore
    • 75 Marc Mohan
    While Shepard just does his grim, weathered, Sam Shepard shtick, and Hall seems oddly miscast as the tense, prickly Dale, Johnson's easy, gritty charm is a much-needed buffer between their colliding obsessions.
    • 59 Metascore
    • 75 Marc Mohan
    Sarah's story is harrowing and powerfully told, as she valiantly attempts to escape and return home with the key to free her brother. Director Gilles Paquet-Brenner doesn't stint on depicting the indignities and violence inflicted even on children, and Mayance's performance is exceptionally strong.
    • 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.
    • 86 Metascore
    • 75 Marc Mohan
    Spielberg manages to give us a Lincoln for our times, inspiringly heroic but demonstrably human.
    • 76 Metascore
    • 75 Marc Mohan
    Even more impressive is young Tequan Richmond (TV’s “Everybody Hates Chris”) as the quiet, intense Malvo, a kid so desperate for a father figure in his life that he becomes putty in the hands of a killer.

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