For 507 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 8.1 points lower than other critics. (0-100 point scale)

Robert Koehler's Scores

  • Movies
Average review score: 51
Highest review score: 100 Man on Wire
Lowest review score: 0 The One
Score distribution:
507 movie reviews
    • 65 Metascore
    • 70 Robert Koehler
    Well-turned adult comedy.
    • 78 Metascore
    • 70 Robert Koehler
    While the point of view of privileged, Anglo observers on African issues usually raises hackles, such is not the case with The Devil Came on Horseback, a tense account of former Marine Capt. Brian Steidle's witnessing of the genocide in Sudan's western province of Darfur.
    • 63 Metascore
    • 70 Robert Koehler
    Borrowing heavily from the current trend in zombie comedy and apocalyptic horror but shifting it away from the usual undead norms, pic carves out a fresh angle in the crowded indie horror universe while blatantly stealing ideas from Kiyoshi Kurosawa's "Pulse."
    • 54 Metascore
    • 70 Robert Koehler
    Alternately glib, superficial and amusing, pic vainly attempts to absorb some degree of Serbian irony into a story that's unavoidably lessened by its privileged American vantage point.
    • 67 Metascore
    • 70 Robert Koehler
    Closer to pics like “The Hit” and “Miller’s Crossing” than to McDonagh’s bristling, funny plays, this half-comic, half-serious account of two Irish hitmen who are sent to the titular Belgian burg to cool their heels after a job is moderately fair as a nutty character study, but overly far-fetched once the action kicks in.
    • 61 Metascore
    • 70 Robert Koehler
    Monica Ali's elegant and critically trumpeted debut novel, Brick Lane, about the travails, conflicting emotions and quiet liberation of a Muslim woman in London, is a far lesser thing in its bigscreen transformation.
    • 71 Metascore
    • 70 Robert Koehler
    It will serve as a fine entry point for younger auds interested in learning about the price paid by moviemakers and their families swept up in the 1950s anti-Communist net.
    • 56 Metascore
    • 70 Robert Koehler
    Wine lovers won't just sip but guzzle a lot of this down, and the same effect that sun-dappled days and sex in California had on "Sideways" operates here.
    • 56 Metascore
    • 70 Robert Koehler
    To the film's credit, Maher never engages in Michael Moore-style gotcha tactics, but rather asks questions that raise more questions, in the form of a Socratic dialogue. To believers expecting a blind hatchet job, this will prove both thought-provoking and a bit disarming; skeptics may be surprised (as Maher is) by the occasionally smart replies to his queries.
    • 51 Metascore
    • 70 Robert Koehler
    Pic drifts onto a familiar obstacle course for its wide-eyed hero, but displays a spirited, open-hearted goodness along the way. Combination of warmth, humor, danger and a cosmopolitan take on young, urban Eire sets pic distinctly apart.
    • 48 Metascore
    • 70 Robert Koehler
    Despite occasional awkwardness in character motion, viewers will be swept away by the luxuriant creation of alternate universes.
    • 69 Metascore
    • 70 Robert Koehler
    Balances intelligent humor, slapstick, Blighty reserve and Yank spunk along with environmentalism.
    • 36 Metascore
    • 70 Robert Koehler
    All-encompassing drama.
    • 66 Metascore
    • 70 Robert Koehler
    The moments of inspired originality are all too infrequent. There's enough eye candy and marvels on screen, however.
    • 62 Metascore
    • 70 Robert Koehler
    Gains much greater texture from the intercutting between the two performers than had it remained simply a Seinfeld promotional project.
    • 50 Metascore
    • 70 Robert Koehler
    Samuel L. Jackson instantly takes the mantle from Mr. Shaft himself, Richard Roundtree, and runs with it on pure style and charisma.
    • 50 Metascore
    • 70 Robert Koehler
    De Niro's reunion with helmer Michael Caton-Jones doesn't stoke the same fire as their previous pere-fils drama, "This Boy's Life," partly because De Niro's latest portrayal of a troubled cop feels so familiar.
    • 75 Metascore
    • 70 Robert Koehler
    The film is, at times, emotionally riveting -- yet also has an institutional feeling, largely because it attempts to cover too much ground in too little time.
    • 73 Metascore
    • 70 Robert Koehler
    At its best, Garbus' account quietly depicts a set of wasted lives, and a closing image of Allen's plywood casket carted away by a bulldozer is emblematic of the tragedy.
    • 40 Metascore
    • 70 Robert Koehler
    Not surprisingly based on a comic book series by Brett Lewis and R.A. Jones (whom pic fails to credit), pic hurtles along at a pace designed by vet music vid and ad helmer Paul Hunter to engage short attention spans.
    • 44 Metascore
    • 70 Robert Koehler
    Uneasily pivots between comedy and drama, with its best parts strongly reminiscent of Schepisi's previous, British-made drama about aging and dying buddies, "Last Orders."
    • 52 Metascore
    • 70 Robert Koehler
    Certainly not a piffle, nor an impressive departure into a new filmmaking realm, Allen's second film in a row about crooks ranks in the middle range of his work.
    • 51 Metascore
    • 70 Robert Koehler
    In a brilliant and precise reversal of Hollywood's current casting game of matching older male stars with younger female starlets, Roth takes hold of the mature end of a love affair with the ultra-handsome Becker and steers a course of vivid sexual and emotional power.
    • 61 Metascore
    • 70 Robert Koehler
    Never rising above routine episodic storytelling, White Oleander nonetheless retains something of its source novel's ravaged emotional surface and cool, observant manner.
    • 66 Metascore
    • 70 Robert Koehler
    With Iraqis pointing cameras at each other, the result is cheerier than might be expected.
    • 41 Metascore
    • 70 Robert Koehler
    While the loyal male-teen aud core will not be disappointed with the spate of gags just for them, story contains solid date-movie material.
    • 64 Metascore
    • 70 Robert Koehler
    Patiently told and lovingly made.
    • 36 Metascore
    • 70 Robert Koehler
    Diesel makes a violent bid to align himself with the Clint Eastwood-Charles Bronson-Steve McQueen tradition, but he lacks the charisma, emotional strength and humor to do so.
    • 66 Metascore
    • 70 Robert Koehler
    Though it never disguises its sympathies for Kasparov and contempt for a powerful corporation's machinations, documentary is finally a speculation on the limits of the human mind and how truth can never be fully known.
    • 47 Metascore
    • 70 Robert Koehler
    An unusually intelligent adventure film scaled for younger viewers, which never leaves adults behind.
    • 51 Metascore
    • 70 Robert Koehler
    While lacking originality, pic is a case of cogent moviemaking that really knows its business. Traces of early Steven Soderbergh and recent Larry David enhance one of the most satisfying comedies in a fallow season.
    • 57 Metascore
    • 70 Robert Koehler
    The most extensive interplay of live action and animation since "Who Framed Roger Rabbit?"
    • 81 Metascore
    • 70 Robert Koehler
    It's the soundtrack, as much as the opticals, which makes this brief Imax trip a thoroughly sensory experience.
    • 64 Metascore
    • 70 Robert Koehler
    While it creaks along at times, director Csaba Kael's new film version of a Hungarian opera masterpiece, Ferenc Erkel's Bank Ban, is ultimately an invaluable entry in the opera-on-film library.
    • 68 Metascore
    • 70 Robert Koehler
    Fascinating assemblage combines strike footage first shot in 1979 by Perry when he was working for the Texas Farm Workers Union with film and video lensed over the ensuing 20-plus years.
    • 58 Metascore
    • 70 Robert Koehler
    This amusingly light (but oh-so-gut-busting) reverie on one man's titanic efforts to rise to the top ranks in the very unofficial sport of competitive scarfing goes down quickly as a good example of documaking on freakish behavior and freakier subcultures.
    • 65 Metascore
    • 70 Robert Koehler
    A history of verse is laid alongside that of warfare, and the ways in which they are braided together proves fascinating.
    • 66 Metascore
    • 70 Robert Koehler
    Viewers unaware of the music --hugely popular among Mexicans -- and the often intensely nationalist sentiments behind it, may blanch at the open chauvinism and celebration of outlaw lifestyles. But part of the pic's strength is its presenting the cultural strain as it is, without comment.
    • 32 Metascore
    • 70 Robert Koehler
    Though it can't hide occasionally crude dramatics, pic is an undeniably bold and daring tragedy.
    • 71 Metascore
    • 70 Robert Koehler
    Ghost throws its most powerful punch in its second half, reporting on contempo events as a direct repeat of the ghastly Leopold era.
    • 59 Metascore
    • 70 Robert Koehler
    Sensitively and methodically tells the story of the first U.S. soldier killed in the 2003 Iraq invasion.
    • 68 Metascore
    • 70 Robert Koehler
    Smartly and seamlessly blending a cast of talented Argentine and Spanish thesps, Pineyro seems to be testing how much cinema he can derive from a restricted space.
    • 66 Metascore
    • 70 Robert Koehler
    The textured, thoughtful results may prove too cerebral and abstract for audiences beyond Smith's hardcore followers,
    • 77 Metascore
    • 70 Robert Koehler
    Smith's utterly natural filmmaking there is impressive.
    • 50 Metascore
    • 70 Robert Koehler
    The film as a whole isn't quite as interesting, though it is noteworthy that action specialist Emmerich has clearly decided to change course here from anything he's previously made. Although this is primarily a writer's film, with John Orloff's screenplay (and dialogue) placed front and center, Anonymous surprises with how classical, staid and traditional Emmerich's mise-en-scene is, never straying from tried-and-true costumer standards.
    • 64 Metascore
    • 70 Robert Koehler
    The picture has a first-rate team of actors who visibly enjoy their roles and the sharp dialogue by Baruchel and Goldberg.
    • 71 Metascore
    • 70 Robert Koehler
    The film observes a guy verging on poverty or riches with a bounty of beautiful imagery and fresh angles on skateboarding culture.
    • 74 Metascore
    • 70 Robert Koehler
    An unusual example of what can be termed a "gay Christian" film, Cone's feature is among the best of a recent spate of dramas observing American Christian life.
    • 74 Metascore
    • 70 Robert Koehler
    The title is an apt one, suggesting that for all its staging and overt theatrics, independent (read: non-WWF) pro wrestling makes huge demands on the body and spirit.
    • 65 Metascore
    • 70 Robert Koehler
    By turns gentle, deadpan, droll and sarcastic, Jimenez's film reflects on Proust's "Remembrance of Things Past" to track a sweet but doomed love affair between literary -- and pleasurably randy -- college students.
    • 75 Metascore
    • 70 Robert Koehler
    An intelligent overview that makes a radical artist's work comprehensible to audiences with no previous awareness of her or her chosen path.
    • 69 Metascore
    • 70 Robert Koehler
    Smartly engineered to engage sports fans and non-fans, the picture's account of Lithuania's 1992 Olympics bronze medal-winning team, presented as a symbol of post-Cold War freedom.
    • 67 Metascore
    • 70 Robert Koehler
    Lacking the outrage and wit of Michael Moore's "Sicko," which dealt with the different matter of health insurance, this documentary is stronger on finding viable solutions.
    • 67 Metascore
    • 70 Robert Koehler
    Close encounters of the charming kind infuse The History of Future Folk, which will likely be remembered as the first neo-hipster Brooklyn sci-fi movie.
    • 64 Metascore
    • 70 Robert Koehler
    The final days of a band of 1930s Christian rebels in the central Mexican wilderness are depicted with majestic stoicism in Matias Meyer’s elegant ode to independence.
    • 53 Metascore
    • 60 Robert Koehler
    A determined and often affecting romance that doesn't speak down to audiences.
    • 44 Metascore
    • 60 Robert Koehler
    What sends this initially tense thriller over the precipice is a plot scheme that never knows when enough is enough.
    • 53 Metascore
    • 60 Robert Koehler
    The winner by a knockout is Eddie Jones...Without Jones, pic is a standard drama on the sweet science with the usual tropes and a slight tweak on the usual conflicts.
    • 46 Metascore
    • 60 Robert Koehler
    Never entirely convincing yet always watchable.
    • 62 Metascore
    • 60 Robert Koehler
    Extraordinary perfs by a mostly young cast likely will be cancelled out by the grim subject.
    • 48 Metascore
    • 60 Robert Koehler
    Assuming the victims' point of view in the type of kidnapping that's now epidemic in Latin America, Jonathan Jakubowicz's Kidnap Express depicts a nocturnal Caracas with tense energy.
    • 48 Metascore
    • 60 Robert Koehler
    Good-natured but only memorable as a platform for the amusingly feisty Peter Falk, The Thing About My Folks plies a light approach to the problems grown children face when their parents appear on the verge of divorce.
    • 62 Metascore
    • 60 Robert Koehler
    Despite a reliable cast led by Scott, Patricia Clarkson and Peter Sarsgaard, the human impact is ultimately lost in a too calculated scenario.
    • 53 Metascore
    • 60 Robert Koehler
    Writer-director Matt Mulhern confidently anchors his drama-comedy about an alcoholic Atlantic City pit boss with good writing and sharp dialogue. Script never treats characters as less than human.
    • 53 Metascore
    • 60 Robert Koehler
    A mixed bag of near-risible storylines, second-rate CG effects, some fabulous set pieces, somewhat cartoonish martial arts fighting and difficult international casting.
    • 78 Metascore
    • 60 Robert Koehler
    Imax 3-D process has lost its original novelty, and little is done in Deep Sea to find new and exciting ways of using the medium.
    • 33 Metascore
    • 60 Robert Koehler
    Admirably jostles and upends the fatigued killer-for-hire genre.
    • 64 Metascore
    • 60 Robert Koehler
    A satire for its time. What Judge is less sure of here than in his previous, perfectly pitched live-action comedy "Office Space," is how to build a complete movie around his key ideas.
    • 67 Metascore
    • 60 Robert Koehler
    Writer-director Montiel creates a movie of many parts that don't always congeal. Mix this with the many meaty scenes and a roster of often exceptional actors and the effect is one of a fabulous acting showcase more than a wholly finished work.
    • 48 Metascore
    • 60 Robert Koehler
    Unlike the disturbingly mysterious original, Saw III is a neatly wrapped-up package that explains everything -- including Jigsaw's evil contraptions and the background of his crazed female assistant.
    • 84 Metascore
    • 60 Robert Koehler
    As beautiful as it is unrevealing, James Longley's Iraq in Fragments rests on a debatable but firm premise -- that the embattled country is irrevocably separated by its three dominant groups, Shiites, Sunnis and Kurds -- but brings back nothing journalistically substantial from the war front .
    • 54 Metascore
    • 60 Robert Koehler
    Interplay between a jaunty Freeman as an unemployed movie star and the magnetic Paz Vega as a no-nonsense grocery store checker gives pic humanity and lift.
    • 63 Metascore
    • 60 Robert Koehler
    The time away from the ring has done Rocky and the franchise some good, although it takes pic a good long while to gather momentum and clout before a surprisingly satisfying third-act heavyweight bout.
    • 70 Metascore
    • 60 Robert Koehler
    Zhang Yimou's strangest and most troubled film, abounds in hysterical, mannered Tang Dynasty-era palace intrigue and dehumanized CGI battle sequences.
    • 57 Metascore
    • 60 Robert Koehler
    Renee Zellweger, in another Blighty role, struggles to make Beatrix credible.
    • 45 Metascore
    • 60 Robert Koehler
    Smokin' Aces blows some cool smoke rings until it makes the very un-cool mistake of overstaying its welcome.
    • 41 Metascore
    • 60 Robert Koehler
    Exceptionally strong cast is pictures beating heart.
    • 69 Metascore
    • 60 Robert Koehler
    Alternates too deliberately between jaunty comedy and serious message-making.
    • 48 Metascore
    • 60 Robert Koehler
    Taking control of what would otherwise be a trite and preachy fable about the need for African American families to accept their gay brethren, Devine builds a jolly and touching character from the stock figure of a Georgia mom coming to terms with her disaffected gay son.
    • 41 Metascore
    • 60 Robert Koehler
    With intermittently amusing glee, writer-director Ryan Shiraki's tyro film, Freshman Orientation, frolics through the political minefields of a typical college campus.
    • 66 Metascore
    • 60 Robert Koehler
    A sweetly raucous adventure. Widely quoted comparisons to "Billy Elliot" and Tim Burton overstate the case for what is really a modestly eccentric entertainment.
    • 83 Metascore
    • 60 Robert Koehler
    Though tinged with the sheer gumption and personal resolve of amateur vidmaker and would-be rapper Kimberly Roberts, this is ultimately a minor doc contribution to the bulging library of Katrina-related films and TV reports.
    • 53 Metascore
    • 60 Robert Koehler
    The effects prove extremely uneven, with sub-par touches alongside astonishing and truly unforgettable shots.
    • 58 Metascore
    • 60 Robert Koehler
    Obediently follows the verities of the submarine movie and its true story origins but without the imagination needed to refresh the genre.
    • 75 Metascore
    • 60 Robert Koehler
    Before the music takes over, the film inserts a few bits of charm, such as Emmylou Harris excitedly following the latest Major League Baseball scores.
    • 50 Metascore
    • 60 Robert Koehler
    Sharp wit but shaky storytelling.
    • 49 Metascore
    • 60 Robert Koehler
    This wobbly docu-drama ends up being caught in between the impulse to make theatrical a true story and the usual Imax mission of imparting information about the natural world in an entertaining way for families.
    • 36 Metascore
    • 60 Robert Koehler
    Unusually slick, mini-budgeted and broad piece of slapstick that liberally borrows from Neil Simon and "The Gang That Couldn't Shoot Straight'' with the twist that gay hit men are the romantic heroes.
    • 52 Metascore
    • 60 Robert Koehler
    This rambling and episodic autobiographical saga of three friends coming of age in Inglewood, Calif. (aka The Wood) in the '80s is so determined to be likable that it forgets to be interesting.
    • 48 Metascore
    • 60 Robert Koehler
    xXx
    A brawny commercial attraction strategically tapping into the auds for extreme sports, spy pix, thrill rides, popcorn actioners and anyone looking to see Diesel kick butt, blow stuff up and/or take his shirt off.
    • 60 Metascore
    • 60 Robert Koehler
    A work that continually seems on the verge of genuine excitement but sabotages itself at every turn...results will intrigue only those interested in the nooks and crannies of Mamet's career.
    • 54 Metascore
    • 60 Robert Koehler
    Powered by exceptional displays of physical filmmaking, Deep Blue Sea is pulled back to shore by the usual suspects -- weak plotting and weaker dialogue.
    • 69 Metascore
    • 60 Robert Koehler
    Falco, light years from "The Sopranos," is exquisitely vulnerable and her scenes play well with Hutton, in his finest role in years as a good man who knows he's sold out.
    • 61 Metascore
    • 60 Robert Koehler
    Superior family entertainment.
    • 43 Metascore
    • 60 Robert Koehler
    A sweethearted trifle.
    • 36 Metascore
    • 60 Robert Koehler
    Comes too late, far surpassed by similar and more visually stunning devices in "The Matrix," and even by the mind-bending realities of "eXistenZ."
    • 60 Metascore
    • 60 Robert Koehler
    Because plot is the sum total here, the alarming holes, inconsistencies and impossibilities in Chris Morgan's script corrode this drama of distress.
    • 62 Metascore
    • 60 Robert Koehler
    Takes a notorious true story about a loyal soldier-turned-bank robber, and pumps it up into charged if uneven entertainment.
    • 61 Metascore
    • 60 Robert Koehler
    Though it isn't the entirely original creation "Metropolis" was, Bebop is more satisfying.
    • 49 Metascore
    • 60 Robert Koehler
    An unembarrassed, high-octane demonstration of the virtues of a U.S. military with a mission, the latest war pic from 20th Century Fox -- a studio with a proud tradition in this field -- couldn't be better timed to fit the popular mood.