For 374 reviews, this critic has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 7.8 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Hustlers
Lowest review score: 10 Walter: Lessons from the World's Oldest People
Score distribution:
  1. Negative: 84 out of 374
374 movie reviews
    • 74 Metascore
    • 80 Inkoo Kang
    The cast is uniformly impressive in their naturalism, but Lewis, Diemir and Lemire — who have the luxury of actually looking like teenagers — are especially so for their young age.
    • 65 Metascore
    • 40 Inkoo Kang
    Its structure is so meager it's downright skeletal.
    • 68 Metascore
    • 60 Inkoo Kang
    The needless cruelty of the criminal justice system feels like a world begging for more sense-making, but Just Mercy only sees its characters as heroes, victims, or obstacles, not as rational beings who might have their own reasons to knowingly commit terrible acts. Cretton’s desire to focus tightly on McMillian’s case makes sense, but he accidentally makes the white malefactors in the town more fascinating for their villainy.
    • 68 Metascore
    • 70 Inkoo Kang
    More diverting is the increasingly desperate forensics the FBI resorts to in order to build a case against Jewell, though it’s not always clear which tactics are simply thorough, now outdated, or flagrantly illegal. But Richard Jewell has so little to say about its time period or how the culture has shifted that it ends up exposing the relative quaintness of its concerns.
    • 81 Metascore
    • 70 Inkoo Kang
    As the dress floats above the couple while they sleep at night, fluttering in its indestructible refinement and invincible otherworldliness, one starts to wonder: Doesn’t the dress deserve to kill better people? Reg and Babs aren’t hateful, exactly, but their pathetic drabness make a case that the dress is getting the raw end of the deal.
    • 75 Metascore
    • 70 Inkoo Kang
    See The Two Popes for its fine performances, but don’t be tempted by its naïveté.
    • 74 Metascore
    • 90 Inkoo Kang
    There’s a particular thrill when all of a film’s many story elements — here, so dense with symbolism — come together with such thematic and emotional vigor. That intensity pairs exquisitely with the tenderness the film never wants to lose sight of.
    • 52 Metascore
    • 40 Inkoo Kang
    Where Charlie’s Angels really falters, though, is in the jokes, as Banks is the only actress on screen with any real comic chops. One can’t help wondering what might’ve been if she’d concerned herself more with being her weird self and less with trying to make every woman in the audience feel validated.
    • 73 Metascore
    • 80 Inkoo Kang
    LaBeouf is so revelatory as both writer and actor that the film defies cynicism about its second purpose as celebrity image management. It just makes you excited about the work.
    • 76 Metascore
    • 60 Inkoo Kang
    Dolemite Is My Name delivers on titties, funnies, and kung fu, all mixed up in a syrupy nostalgia that makes the picture’s feel-good populism go down easy. It’s only when the credits roll that you might notice there was little there but froth.
    • 79 Metascore
    • 100 Inkoo Kang
    An immediate entrant into the pantheon of female friendship movies, Hustlers — a pretty much perfect film — makes plain the hollowness of so many other iterations of girl power in studio projects. You can feel its heart beat.
    • 71 Metascore
    • 80 Inkoo Kang
    The heart of the film is the father-son bond, but Chadha, a filmmaker long preoccupied with the inner lives of Desi-British girls and women, also gives Javed’s sister (Nikita Mehta) a lovely reveal. If a couple of segments droop in their strict adherence to Manzoor’s biography, it’s certainly forgivable. This movie won’t blind anyone with its innovation, but it’s got plenty to dazzle and delight.
    • 85 Metascore
    • 60 Inkoo Kang
    It’s not that One Child Nation needs to cater to both sides of the argument, but it would have helped contextualize how often the acts of violence the film chronicles actually happened.
    • 35 Metascore
    • 20 Inkoo Kang
    I felt resentful of my own feelings of gratitude while watching The Kitchen, a joyless and exhausting movie that squanders the talents of a dream trio: McCarthy, Tiffany Haddish, and Elisabeth Moss.
    • 77 Metascore
    • 80 Inkoo Kang
    On American screens, at least, there is an almost shocking dearth of honest stories about European colonialism, one of the greatest forces to reshape the globe in the last half-millennium, and Kent’s humanist revisions of the rape-revenge and Western genres represents a visionary attempt to rectify this. It may not always be easy to sit through, but we’re nonetheless lucky to witness it.
    • 89 Metascore
    • 100 Inkoo Kang
    The subject matter is inevitably somber, but the picture is also mischievously funny. Wang pirouettes along some tonal hairpins — in one scene, I guffawed in the midst of wracking sobs.
    • 38 Metascore
    • 40 Inkoo Kang
    Overstuffed and far from spry.
    • 70 Metascore
    • 60 Inkoo Kang
    Late Night suggests that Kaling is as fascinated as ever not by the girl next door but by powerful, unruly women — and the unconventional love stories befitting their willful, idiosyncratic selves. But the film may be most notable for its summation of the thinking and rethinking that Kaling has done about her 15 years in Hollywood — and how to fight to change it.
    • 83 Metascore
    • 80 Inkoo Kang
    San Francisco may be waging war against its most vulnerable residents, but if you can enjoy its beauty, as Jimmie and Montgomery do for a magical few days, its unique picturesqueness makes it easy to love.
    • 64 Metascore
    • 60 Inkoo Kang
    The script relies too often on Sasha’s bestie or Marcus’ father pushing the destined couple toward each other, but its smaller moments of naturalistic riffing make up for the rigid plotting.
    • 53 Metascore
    • 70 Inkoo Kang
    Ritchie’s film still feels shackled by its dutiful allegiance to the source material. But when it gets to be its own thing, it’s a spirited romp that — setting aside the uncanny, off-putting look of Smith’s Genie — has no shortage of charms.
    • 56 Metascore
    • 50 Inkoo Kang
    Maybe this dream team would be better showcased by a "Tea With the Dames" situation, in which they were allowed to toss out the script and booze it up as their own funny selves. Anyone else up for Chardonnay With the Comedians?
    • 67 Metascore
    • 70 Inkoo Kang
    Long Shot feels like something new, too — a brogressive rom-com that mixes inconvenient boners and aerodynamic cum with extensive observations about sexism and a rare romanticization of the male helpmate.
    • 60 Metascore
    • 70 Inkoo Kang
    It doesn’t help that the plot is tortuous, and the resolution is an inarguable letdown. And yet! Mitchell’s ambitions, observations, and moods make the picture a dippy blast, like a hallucinatory trip that definitely goes on too long but is well worth the insights and surprises.
    • 49 Metascore
    • 20 Inkoo Kang
    The key, according to the film, is dialogue and altruism — namely, black overtures to white hate. The onus is as misplaced as the movie’s sympathies.
    • 67 Metascore
    • 30 Inkoo Kang
    If you like postmodern gimmickry and modern dance, and are OK with sitting through nearly 10 minutes of staged talking-head interviews, glum stoner talk about abortion, nausea-inducing filmmaking, characters whose motivations don’t make sense, horror, exploitative child death, and a quasi-coercive lesbian make-out—but just don’t care to be reminded “Drugs! Are! Bad!”: Leave 89 minutes in. Or don’t come at all, because Climax really isn’t about anything more than that.
    • 57 Metascore
    • 50 Inkoo Kang
    Despite the production’s team of scientist consultants, the physics in The Wandering Earth is probably a lot of hooey. But the film’s world building, which takes up much of its first third, is undeniably novel and fascinating. Rarely does a film brag such a technocratic heart.
    • 60 Metascore
    • 50 Inkoo Kang
    Natalie might protest the whitewashing of New York by rom-coms, but Isn’t It Romantic trots out multiple supporting characters of color whose sole roles are to make the white protagonist look good.
    • 49 Metascore
    • 70 Inkoo Kang
    A high-concept comedy about the domestication of a work-obsessed woman that nonetheless managed to win me over.
    • 61 Metascore
    • 60 Inkoo Kang
    The sum amounts to far less than its parts, but oh, what parts!

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