For 575 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% 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
Average review score: 69
Highest review score: 100 Goodbye Solo
Lowest review score: 0 Cop Out
Score distribution:
  1. Negative: 25 out of 575
575 movie reviews
    • 60 Metascore
    • 50 Marc Mohan
    The scenes between Gainsbourg and Skarsgard are fewer and less engaging than in the first volume, and the dichotomy between them is simpler and more obvious. And that doesn't even include an ending that is as impulsive and deranged as anything Joe comes up with during all of her taboo-breaking adventures.
    • 37 Metascore
    • 42 Marc Mohan
    Cobbled together from other sources without much thought to originality.
    • 52 Metascore
    • 42 Marc Mohan
    For children old enough to get the jokes about Vicodin but young enough to innocently fantasize about movie stars, Win a Date With Tad Hamilton! will be a perfectly pitched midwinter treat.
    • 49 Metascore
    • 42 Marc Mohan
    The problem is the obviousness with which the plot unfolds -- it's as if the filmmakers had a 14th-century audience in mind, one that had never seen a movie.
    • 37 Metascore
    • 42 Marc Mohan
    The result is a frustrating and disturbing mishmash of vague philosophical noodling, which even the best-chosen cast can't imbue with zip.
    • 40 Metascore
    • 42 Marc Mohan
    Armed with a cliche-ridden script and a gaggle of unconvincing performers, the result comes off more like an Ernest Hemingway letter to the Penthouse Forum than a revival of Hollywood magic.
    • 48 Metascore
    • 42 Marc Mohan
    The result is an exercise in emoting that features one of the worst Southern accents in recent memory and does about as much to establish the actor's range as "Battlefield Earth."
    • 47 Metascore
    • 42 Marc Mohan
    Antonio Banderas and Catherine Zeta-Jones are back, as is director Martin Campbell, but the result has the all-too-common feel of an expired equine redundantly abused.
    • 41 Metascore
    • 42 Marc Mohan
    One of the great things about international cinema is the way it can remind us of our common humanity. For instance, it's good to know that beautiful, rich people are selfish and miserable the world over. That's one of the few positives a viewer can take away from a film such as La Mujer de Mi Hermano.
    • 40 Metascore
    • 42 Marc Mohan
    The result is a sepia-toned muddle.
    • 62 Metascore
    • 42 Marc Mohan
    The sort of movie that makes you feel like a heel for not liking it: Independently made and heartfelt, it also happens to have been shot in Portland. Nonetheless, the accumulation of cliches big and small manage to erase whatever goodwill its other features have engendered.
    • 50 Metascore
    • 42 Marc Mohan
    Fiction can sometimes be used to access a deeper truth than mere fact, but in this case all it does is obscure and confuse a fascinating life story.
    • 57 Metascore
    • 42 Marc Mohan
    A bloodless film that aims for wry but leaves you merely asking "why?"
    • 45 Metascore
    • 42 Marc Mohan
    To quote Dennis Hopper from the film "Search and Destroy": "Just because it happened to you doesn't make it interesting."
    • 47 Metascore
    • 42 Marc Mohan
    Talky, didactic and essentially free of any real narrative, it views Iraq through the lens of Vietnam, which is fair enough, but ends up making the whole polemic seem like a condescending effort from aging baby boomers to get the younger generation to step up to the plate.
    • 49 Metascore
    • 42 Marc Mohan
    An old-fashioned story of courage and self-sacrifice in the face of war and deprivation. It's also sappy, boring and obvious.
    • 51 Metascore
    • 42 Marc Mohan
    For those disappointed in the grim, gritty feel of the latest James Bond movie and who long for the absurdity of the Roger Moore-era entries, Transporter 3, ought to fit the bill.
    • 53 Metascore
    • 42 Marc Mohan
    A facile, feel-good fable that substitutes cliché for reality at nearly every turn.
    • 51 Metascore
    • 42 Marc Mohan
    Whether Elia Kazan could have done something memorable with this script will remain an eternally open question. This film, though, is most effective as a reminder that Williams' works emerged from a certain time and place, and to approach them from another is fraught with peril.
    • 65 Metascore
    • 42 Marc Mohan
    This final act goes on far too long and devolves into such a miasma of pap that it's clear Stoller had no idea how to wrap things up.
    • 56 Metascore
    • 42 Marc Mohan
    It isn't a lack of realism or philosophical consistency that rankles most, though, but rather the anticlimactic story and uninteresting characters that make this Hereafter not very sweet at all.
    • 46 Metascore
    • 42 Marc Mohan
    With a self-plagiarizing premise, lifeless performances and a clunky-to-say-the-least screenplay, this star-studded flop is one of 2010's most egregious wastes of cinematic talent.
    • 69 Metascore
    • 42 Marc Mohan
    The result is a hybrid of "Falling Down" and "Short Cuts" without the iconic central character of the former or the latter's clear-eyed humanism.
    • 42 Metascore
    • 42 Marc Mohan
    Jumping repeatedly and randomly from present-day Shanghai to 1997 to 1829 and periods in between, the film has a pace that seems almost willfully tedious.
    • 48 Metascore
    • 42 Marc Mohan
    The potential for an interesting story is high. Unfortunately, Miller's autobiographical tale, as told in Blue Like Jazz, squanders this potential by failing to take place in a recognizably real world.
    • 41 Metascore
    • 42 Marc Mohan
    The whole thing has the feel of a fact-based dinner-table anecdote absurdly puffed up to feature length.
    • 58 Metascore
    • 42 Marc Mohan
    One of the most lifeless and predictable movies you're likely to see this year.
    • 40 Metascore
    • 42 Marc Mohan
    Very few will remember it in a few months, which is probably just fine with the folks who made it.
    • 52 Metascore
    • 42 Marc Mohan
    The film looks old-fashioned, too, with cinematography and special effects so reminiscent of old-school, live-action Disney flicks such as "Something Wicked This Way Comes" that you wonder if it was an aesthetic choice or a budgetary concession. Either way, it doesn't work.
    • 51 Metascore
    • 42 Marc Mohan
    As is, the slapstick humor and mild repartee won't please many with a mindset above that of a 10-year-old, while the level of (admittedly fantastical) violence might be a bit much for the pre-teen set.