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
    • 65 Metascore
    • 67 Marc Mohan
    Though its characters aren't terribly complex, and its plot holds few surprises, the screenplay (in English, German, and Hebrew) amounts to a worthy treatise on the need to forgo revenge.
    • 61 Metascore
    • 67 Marc Mohan
    Israeli society is one that has ample experience processing grief, and Nina's Tragedies explores that challenge with humanity and humor.
    • 57 Metascore
    • 67 Marc Mohan
    It doesn't take an awareness of the ethnic and cultural differences between the miniskirted siren and the shy Arab youth to see that she might be more than he can handle.
    • 68 Metascore
    • 67 Marc Mohan
    Caro stumbles in a couple ways. By flashing forward throughout the film to scenes of the climactic courtroom showdown, she blunts the story's dramatic impact.
    • 55 Metascore
    • 67 Marc Mohan
    This gritty take on Grimm's suffers from mannered supporting performances and an inconsistent level of realism.
    • 46 Metascore
    • 67 Marc Mohan
    A misfire, but a misfire from von Trier is still more interesting than a blandly successful Hollywood product.
    • 57 Metascore
    • 67 Marc Mohan
    Overall, there's a patchwork quality to the movie, as if a batch of half-finished short stories were filmed before their time.
    • 72 Metascore
    • 67 Marc Mohan
    There's much to admire here, but less to like.
    • 32 Metascore
    • 67 Marc Mohan
    Charles Grodin, in his first film in a dozen years, provides some of the best moments as Sofia's dad, while Mia Farrow is kind of creepy as her mom.
    • 74 Metascore
    • 67 Marc Mohan
    The juvenile performances are impressive, as they usually are in foreign films, and Spiridonov handles some grueling material with impressive maturity. But the movie comes undone with an abrupt and preposterous finale.
    • 61 Metascore
    • 67 Marc Mohan
    The good news is that this movie is no "Spanglish;" the bad news is that Sandler's performance is actually better than the material deserves.
    • 48 Metascore
    • 67 Marc Mohan
    The weirdly earnest literalism of Besson's story is a weak point. His desire to make Angela satisfy both sides of the Madonna-whore complex is too blatant.
    • 55 Metascore
    • 67 Marc Mohan
    But if the notion that Austen was more reactive than creative in her writing is troubling, so is the idea that she needed Lefroy to make her into a great writer. "Experience is vital," he tells her. We should be glad this guy never got his paws on Emily Dickinson.
    • 50 Metascore
    • 67 Marc Mohan
    Dedication would've been better if it had stuck to its disreputable guns instead of going all mushy and predictable, and slathering an emo soundtrack over everything.
    • 54 Metascore
    • 67 Marc Mohan
    The characters are flat, too: Richard Gere plays your typical desperate, embittered war reporter; Terrence Howard is your typical cameraman/sidekick/narrator; and Jesse Eisenberg rounds out the standard-issue trio as your typical nervous rookie, in over his head.
    • 56 Metascore
    • 67 Marc Mohan
    Wants to be both a hot-button, ripped-from-the-headlines statement movie and a crowd-pleasing, rip-roaring action thriller. It ends up meeting each goal about halfway.
    • 68 Metascore
    • 67 Marc Mohan
    Isn't meant to be a depressing experience, as each of these unfortunate souls recovers a sense of pride in themselves and their tribe through music.
    • 74 Metascore
    • 67 Marc Mohan
    The performances are solid and subtle, with Depardieu growing nicely into the brooding, smarter-than-he-looks roles his father tackled for years.
    • 48 Metascore
    • 67 Marc Mohan
    Reese Witherspoon, whose production company made Penelope, contributes an inflated cameo that feels forced.
    • 86 Metascore
    • 67 Marc Mohan
    Ultimately, though, it's hard not to feel like Hou is saying more explicitly and expansively in nearly two hours what Lamorisse managed to convey in only one-fourth as much film.
    • 37 Metascore
    • 67 Marc Mohan
    Comes up with some decent jokes, including a talking car-based GPS system which doubles as a therapist, and a suggestive Yonica number titled "I Want to Blow You Up," but fails to surround them with a compelling story or characters who rise above the level of cliche.
    • 56 Metascore
    • 67 Marc Mohan
    Bottle Shock never quite connects. And considering the more recent transformation of Napa, the movie's triumphant ending rings a bit false.
    • 52 Metascore
    • 67 Marc Mohan
    Grim, post-apocalyptic, special-effects extravaganza.
    • 57 Metascore
    • 67 Marc Mohan
    Doesn't have much new to offer in either style or substance. It's got the same glossy-gritty urban warfare sheen as "Black Hawk Down" and every other Third-World geopolitical action thriller of the last few years.
    • 62 Metascore
    • 67 Marc Mohan
    Ultimately, though, it's unfortunate that the movie tries to make so many oblique comparisons to more modern tragedy (paparazzi with sketchbooks; yes, we get it!), since Georgiana's life seems fascinating enough on its own.
    • 40 Metascore
    • 67 Marc Mohan
    The one unforgivable crime committed in this remake is the lack of the original's most famous line of dialogue: "Klaatu barada nikto." Would it have been so tough to squeeze that in somewhere?
    • 46 Metascore
    • 67 Marc Mohan
    Of all the roles where the star has played a character transformed from ordinary to goofy ("The Mask," "Me, Myself & Irene," "Liar Liar"), this is the one where he seems the most human, achieving that elusive quality in a Carrey film: tolerability.
    • 53 Metascore
    • 67 Marc Mohan
    In addition to the slick but generic computer animation, it's also got an A-list voice cast: Nicolas Cage as Dr. Tenma, the grieving inventor, and Donald Sutherland as a scheming politician.
    • 80 Metascore
    • 67 Marc Mohan
    Only in the slightly overlong last act, as the family's misfortunes become truly existential, does director Kiyoshi Kurosawa take things to another level. Whether this is an extension of the film's social criticism, a comment on the absurdity of melodrama or straightforward audience manipulation, is anyone's guess.
    • 54 Metascore
    • 67 Marc Mohan
    Paper Heart isn't the most cloying instance of earnest indie quirk to emerge in the past few months, nor is it the most charming, but the mere fact that such a continuum exists is reason enough to worry.

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