For 786 reviews, this critic has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 15.9 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Take Shelter
Lowest review score: 25 The Devil's Double
Score distribution:
  1. Negative: 13 out of 786
786 movie reviews
    • 67 Metascore
    • 91 Eric Kohn
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
    • 74 Metascore
    • 91 Eric Kohn
    The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
    • 84 Metascore
    • 91 Eric Kohn
    With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
    • 86 Metascore
    • 91 Eric Kohn
    More traditional in terms of atmosphere and plot, Drug War nevertheless features a tense, unstoppable momentum, a morally ambiguous protagonist and hugely involving action scenes.
    • 75 Metascore
    • 91 Eric Kohn
    In constructing its gripping overview, After Tiller maintains a generally straightforward roundup of talking heads, but its unassuming construction gradually generates an authoritative voice. Only once the arguments have been plainly established does the emotion truly take hold.
    • 61 Metascore
    • 91 Eric Kohn
    In "Adventureland" and this summer's "The Way Way Back," disillusioned teens have worked through their issues in the weeks leading up to college by taking on quirky summer jobs. However, Carey's wacky sensibilities retain a notably fresh quality by using the same framing device as an excuse to bat around one funny idea after another. The story transcends the derivative scenario through a noticeable lack of verbal censorship.
    • 58 Metascore
    • 91 Eric Kohn
    A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.
    • 96 Metascore
    • 91 Eric Kohn
    Gravity lets you visit space without sugarcoating its dangers. It's a brilliant portrait of technology gone wrong that uses it just right.
    • 68 Metascore
    • 91 Eric Kohn
    The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
    • 78 Metascore
    • 91 Eric Kohn
    Gandolfini deserves an Oscar for Enough Said not because it's the culmination of everything that came before it but rather because it goes in a completely different direction. And his least characteristic achievement is also one of his best.
    • 65 Metascore
    • 91 Eric Kohn
    The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
    • 65 Metascore
    • 91 Eric Kohn
    In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
    • 63 Metascore
    • 91 Eric Kohn
    Directors Katie Graham and Andrew Matthews' directorial debut (from Matthews' screenplay) centers on a highly unlikable character who has alienated himself from social responsibility -- and forces you to sympathize with him against all odds.
    • 90 Metascore
    • 91 Eric Kohn
    Her
    Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.
    • 71 Metascore
    • 91 Eric Kohn
    You couldn't ask for a more appropriate genre of music to carry a movie. As Didier explains the bluegrass appeal, "the banjo sort of snarls," bringing a primal form of energy that even he can't put into words. It's also the element that manages to rescue "Broken Circle" from the meandering nature of its structural looseness, which sometimes distracts from a thoroughly involving story.
    • 76 Metascore
    • 91 Eric Kohn
    Is the Man Who Is Tall Happy? bears the stamp of Gondry quirk but allows it to feel a lot more intimate than anything he's done since "Eternal Sunshine."
    • 70 Metascore
    • 91 Eric Kohn
    The Safdies have stood out over the last few years for continually challenging audience expectations even while seeming to adhere to conventional storytelling traditions, and that's certainly true here: You've never seen a sports movie like this before.
    • 69 Metascore
    • 91 Eric Kohn
    White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
    • 85 Metascore
    • 91 Eric Kohn
    It portrays the struggle from the inside, from about as far from the filter of mainstream media as one can get, capturing tense shootouts and the extremes of revolutionary spirit in unnerving detail.
    • 68 Metascore
    • 91 Eric Kohn
    Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 68 Metascore
    • 91 Eric Kohn
    Striking a complex tone of tragedy and uplift at the same time, Kumiko, the Treasure Hunter both celebrates the escapist power of personal fantasies and bears witness to their dangerous extremes. It's the rare case of a story that's inspirational and devastating at once.
    • 82 Metascore
    • 91 Eric Kohn
    Love Is Strange is a sophisticated take on contemporary urbanity infused with romantic ideals and the tragedy of their dissolution.
    • 88 Metascore
    • 91 Eric Kohn
    While it has many familiar ingredients — from the atmosphere to the ensemble of Anderson regulars in nearly every role — in its allegiance to Anderson's vision, everything about The Grand Budapest Hotel is a welcome dose of originality.
    • 83 Metascore
    • 91 Eric Kohn
    '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
    • 81 Metascore
    • 91 Eric Kohn
    The contrast between the movie’s traditional execution and Stritch’s domineering powers create the lingering sense that she may be the project’s true auteur.
    • 75 Metascore
    • 91 Eric Kohn
    Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
    • 80 Metascore
    • 91 Eric Kohn
    With the shift from conventional rock doc into something more sophisticated, As the Palaces Burn remains enthralling all the way through.
    • 81 Metascore
    • 91 Eric Kohn
    Mackenzie (whose previous credits include "Perfect Sense" and "Young Adam") applies a sharp kitchen sink realism to this haunting setting and directs it toward an ultimately moving family drama that just happens to involve vicious convicts.
    • 61 Metascore
    • 91 Eric Kohn
    In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
    • 81 Metascore
    • 91 Eric Kohn
    Though anchored by a affecting and sullen turn by Channing Tatum, the movie derives its primary discomfiting power from Steve Carell in a revelatory performance as a monster of American wealth.