For 753 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 7.6 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 An Inconvenient Truth
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 38 out of 753
753 movie reviews
    • 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.
    • 76 Metascore
    • 75 Marc Mohan
    The languid, observational style of director Julia Loktev will frustrate those expecting stuff to, like, happen more, but it has its real rewards.
    • 37 Metascore
    • 75 Marc Mohan
    Purists may still quail at the little bit of anthropomorphism going on, but it seems a small price to pay to broaden the audience for a family film that seeks to do more than just entertain.
    • 55 Metascore
    • 75 Marc Mohan
    There's a certain bravery in Brandon's full embrace of the themes of Cronenberg père, who may be returning the favor with his next film, the Hollywood satire "Maps to the Stars."
    • 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.
    • 90 Metascore
    • 75 Marc Mohan
    There’s plenty of fun to be had, but in the long term, American Hustle may be remembered more for its superficial pleasures than the depth of its impact. Kind of like the 1970s.
    • 54 Metascore
    • 75 Marc Mohan
    Should satisfy its 8- to 12-year-old target demographic.
    • 65 Metascore
    • 75 Marc Mohan
    Eventually the chemistry between Collette and Church wins out, and Lucky Them makes for a diverting, if forgettable, romantic comedy.
    • 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.
    • 74 Metascore
    • 75 Marc Mohan
    Joe
    Joe works better as a study of character and environment than as the thriller it tries to become in its final act.
    • 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
    At its more abstract moments, it's a treat for the eye and the soul.
    • 75 Metascore
    • 75 Marc Mohan
    The movie's centerpiece and peak is the operation itself, which Reichardt depicts with the pulse-pounding patience of a classic heist sequence like that in "Rififi."
    • 61 Metascore
    • 75 Marc Mohan
    Three potent performances readily compensate for the familiar plot.
    • 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).
    • 81 Metascore
    • 75 Marc Mohan
    With gadgets, girls and globe-trotting held to a minimum, Skyfall, could, for long stretches, be mistaken for just another 21st-century thriller, albeit a well-made and intelligent one.
    • 57 Metascore
    • 75 Marc Mohan
    The result calls to mind “Lord of the Flies” and “Children of Men,” even if the film’s second half is much less compelling than its first.
    • 60 Metascore
    • 75 Marc Mohan
    There's nothing earth-shaking here, but a chance to see one of cinema's great movie stars in a tailor-made role that pleasantly subverts her icy image is always welcome.
    • 66 Metascore
    • 75 Marc Mohan
    As I sat slavishly (and needlessly) through the entire end credit roll, it was hard to muster anything more fervent than "Yeah, it was pretty good." Even a clean, white hate would have somehow been more satisfying.
    • 60 Metascore
    • 75 Marc Mohan
    For at least three-fourths of its running time, The Concert is predictable, soft-edged and unremarkable. Then the titular performance, of Tchaikovsky's Violin Concerto, begins, and the music elicits the emotional response the rest of the film has been striving for the whole time. It's enough to almost make the whole thing worthwhile.
    • 45 Metascore
    • 75 Marc Mohan
    Blood Ties not only convincingly recreates its era, it seems like it could have been made then.
    • 78 Metascore
    • 75 Marc Mohan
    In Morvern Callar, the subject matter may be morbid and unappealing, but the director handles it with a visual poetry and an eye for hidden beauty that marks a filmmaker of the first order.
    • 70 Metascore
    • 75 Marc Mohan
    The real revelation is Lou Ferrigno, in his first non-Hulk-related big-screen role since 2002. OK, so he plays himself.
    • 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.
    • 76 Metascore
    • 75 Marc Mohan
    Moncrieff's story remains fresh despite the familiarity of its general outline. This is mostly due to the skilled performances she elicits; even when the unfolding events have been seen many times before, watching human beings react realistically never gets old.
    • 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.
    • 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).

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