For 336 reviews, this critic has graded:
  • 40% higher than the average critic
  • 5% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 8.3 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Tully
Lowest review score: 10 Nothing Without You
Score distribution:
  1. Negative: 80 out of 336
336 movie reviews
    • 82 Metascore
    • 80 Inkoo Kang
    Wildlife is a confident and compassionate first film. But with its protagonist mostly relegated to waiting and observing, its main raison d’être is Mulligan’s masterful turn as a thirtysomething woman coldly testing her abilities to see what she’s capable of, while terrified that she won’t be able to provide a good life for her son.
    • 63 Metascore
    • 60 Inkoo Kang
    The lack of a precipitating factor, the invisible impulses behind addiction, and the episodic nature of recovery don’t exactly lend themselves to a compelling narrative structure.
    • 60 Metascore
    • 60 Inkoo Kang
    Until its resolution, Bad Times is a fun-enough romp through retro genre pleasures. But when it drags in the real world in its final scenes, it reveals itself to be just as fatuous as most such nostalgic pastiches tend to be.
    • 83 Metascore
    • 70 Inkoo Kang
    Private Life is certainly very good at shivving its characters at close range and gutting these dyspeptic, privileged white people when they deserve it. Save for Sadie’s charmed fate, I can’t fault Private Life for nailing what it sets out to accomplish. But its cultural narrowness, however well-expounded, also left me wondering about the trials and tribulations of all the other couples in that waiting room long after we’d seen the last of them.
    • 63 Metascore
    • 70 Inkoo Kang
    Al-Mansour is both a natural and highly imperfect pick to adapt Trisha R. Thomas’ novel.
    • 78 Metascore
    • 80 Inkoo Kang
    The second hour, though, strides toward its impressively unstinting resolution with magisterial confidence. With the characters finally stripped of the hardness they’d been forced to wear, their raw selves glisten in the sun until it’s time to wearily tie the carapace back on.
    • 21 Metascore
    • 20 Inkoo Kang
    The commitment of its all-star cast — which includes Oscar Isaac, Annette Bening, Mandy Patinkin, Antonio Banderas, Olivia Wilde, Olivia Cooke, and Samuel L. Jackson — can’t divert from the fact that its quills droop and sag, where they haven’t fallen off altogether. Behold the other North American flightless turkey.
    • 67 Metascore
    • 70 Inkoo Kang
    A Simple Favor reintroduces Lively as a character actress—a sexy, funny, award-worthy revelation.
    • 27 Metascore
    • 10 Inkoo Kang
    A joyless, soulless slog, wasting the efforts of co-stars Melissa McCarthy and Elizabeth Banks.
    • 71 Metascore
    • 70 Inkoo Kang
    If Searching prefers to focus on plot mechanics over emotion, it at least makes up for it with minor but significant developments in Asian American representation. Given the predominance of the cultural and generational gap between parents and children in Asian American narratives, from "The Joy Luck Club" to "Master of None," it’s refreshing to see an example of assimilated families, whose numbers will only continue to increase.
    • 64 Metascore
    • 30 Inkoo Kang
    First-time feature writer Sofia Alvarez’s attempt to shrink Han’s lengthy, largely internal, and culturally specific story into a 97-minute movie is, simply put, a botch job. Stilted and scattered and strangely cold in its cinematography, it’s a handsomely shot whole lotta nothin’.
    • 83 Metascore
    • 80 Inkoo Kang
    BlacKkKlansman may well be the first film to frame the Trump era as one of regression in response to the progress of the Obama years.
    • 74 Metascore
    • 90 Inkoo Kang
    Emotionally layered, culturally specific, and frequently hilarious, Crazy Rich is a transportive delight, with food montages to die for (the film offers a splendid showcase of Singapore’s justly celebrated street-food scene) and a wedding processional so exquisite I started crying at its sheer beauty.
    • 52 Metascore
    • 40 Inkoo Kang
    Lines that should be funny are sacrificed to the breathless exigencies of the plot. The movie starts to feel like a slow suffocation.
    • 67 Metascore
    • 70 Inkoo Kang
    It’s an important corrective to many contemporary and historical accounts of Hollywood, reinstating the queerness that has too often been straight-washed out of them.
    • 84 Metascore
    • 80 Inkoo Kang
    Directors Ian Bonhôte and Peter Ettedgui’s smartest tactic — the one that makes McQueen such a pleasure to watch, even for fashion outsiders — is giving viewers a front-row seat to the runway, then letting us judge the designer’s oeuvre for ourselves.
    • 76 Metascore
    • 90 Inkoo Kang
    The dual portrait that Blindspotting offers is heady and dense and mighty compelling.
    • 74 Metascore
    • 40 Inkoo Kang
    instead of focusing on the comedian’s complexities, Come Into My Mind focuses on his heartbreak. Perhaps Zenovich wanted to offer closure to fans still shocked by Williams’ final choice. But any artist is far more than their struggles. A proper remembrance would have understood that.
    • 81 Metascore
    • 80 Inkoo Kang
    Sorry to Bother You is so smart and so potent for so long — and so inventive yet thoughtfully measured in its use of the absurd — that the flaws simply give way. You don’t remember the endings of dreams, after all — just the parts that left you in a pool of your own sweat.
    • 54 Metascore
    • 50 Inkoo Kang
    By exposing on the top-down class-warfare origins of the annual event, the prequel elaborates on the series’ earnest political commentary — and exposes its limits as well.
    • 68 Metascore
    • 60 Inkoo Kang
    Portman’s voiceover performance is full of conviction, but I wish that Eating Animals gave us different models of vegetarianism than she and Foer, a diminutive actress and a bookish Brooklynite, respectively.
    • 88 Metascore
    • 90 Inkoo Kang
    The fissure between father and daughter approaches like a snake. It sneaks up on you, then leaves you in paralyzed shock.
    • 51 Metascore
    • 30 Inkoo Kang
    The self-serious meditations on fate and responsibility — as well as the uneven but ever-charged flare-ups between Izzy and whoever she’s talking to — recall exercises in an acting class. By the end, we understand her motivations and recent biography, but precious little about who she is as a person.
    • 52 Metascore
    • 70 Inkoo Kang
    Sure, young star Trevor Jackson (“Grown-ish,” “American Crime”) can’t fill O’Neal’s effortlessly dapper, achingly world-weary shoes, and few movie soundtracks can rival Curtis Mayfield’s legendary album for the first “Super Fly.” But this is a remake worthy of its original.
    • 87 Metascore
    • 50 Inkoo Kang
    Hereditary only begins as a Greek tragedy. After a few too many twists and turns, it gets warped into a horror soap — an unnerving but ultimately numbing pile of calamities.
    • 61 Metascore
    • 80 Inkoo Kang
    Ocean’s 8 is in many ways a mirror image of its predecessor, but it’s most delightful when it follows its own path toward girly transcendence.
    • 56 Metascore
    • 20 Inkoo Kang
    In the end, the only transgression The Misandrists really commits is self-satisfied solipsism.
    • 53 Metascore
    • 70 Inkoo Kang
    The cast is just as game for the broad humor as it is for the emotional beats; the latter’s familiarity doesn’t detract from its poignancy.
    • 27 Metascore
    • 20 Inkoo Kang
    Like a teen’s journal, writer-director Vaughn Stein’s debut feature is a scrapbook stuffed with allusions. The fondness is clear. But the resulting compilation is self-indulgent twaddle.
    • 42 Metascore
    • 60 Inkoo Kang
    The screenplay by Ryan Engle (“Rampage,” “The Commuter”) squanders its potential for emotional depth, making Breaking In a serviceable, but indistinct product.

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