For 390 reviews, this critic has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 8.2 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 The Letters
Score distribution:
  1. Negative: 85 out of 390
390 movie reviews
    • 92 Metascore
    • 80 Inkoo Kang
    With the risks to both the filmmaker and his subjects on full display, it’s an impressively exciting and strikingly novel approach in chronicling a humanitarian crisis that has yet to receive its due.
    • 62 Metascore
    • 70 Inkoo Kang
    First-time director Jen Rainin’s portrait of Stevens, Curve‘s achievements and blindspots, lesbian progress during the Clinton era and the uneasiness with the “lesbian” label among many queer women today is accomplished, resonant and deeply moving.
    • 56 Metascore
    • 50 Inkoo Kang
    The documentary is just as notable for the cultural and social analysis that it lacks as it is for its contents.
    • 82 Metascore
    • 80 Inkoo Kang
    Introducing is a remarkably moving portrait of a 40-something woman forced to reevaluate her relationships and her sense of self in the face of a chronic illness that leaves her sometimes unable to speak or control her movements.
    • 70 Metascore
    • 70 Inkoo Kang
    The script’s skillful tension makes it easy to forgive Operation Varsity Blues its occasionally clunky missteps. At least it tells a tale as old as time — of the insatiable rapacity of those who already have more than anyone else — with novel relish.
    • 54 Metascore
    • 70 Inkoo Kang
    It’s a solid first film, with a firm grasp on its melancholy but romantic tone, which never gets in the way of its propulsive momentum.
    • 54 Metascore
    • 50 Inkoo Kang
    It’s the kind of movie that needs a feather-light touch or plenty of humor to avoid feeling overly parental. Moxie has neither.
    • 75 Metascore
    • 80 Inkoo Kang
    Raya and the Last Dragon occasionally crawls, but most of the time it’s got urgency and momentum to spare. Just as impressively, it builds to a deeply moving climax whose resolution is unexpected yet consummate. This is a film that knows how to soar.
    • 47 Metascore
    • 50 Inkoo Kang
    R#J
    Ultimately, it all feels less like a romance than a curiosity.
    • tbd Metascore
    • 70 Inkoo Kang
    Freedia is such a charismatic guide — and the explanations for gun violence so familiar — that the documentary loses steam whenever she's off-screen for too long.
    • 61 Metascore
    • 60 Inkoo Kang
    Largely fueled by Richardson and Ferreira’s charisma and chemistry, Unpregnant is an amiable if uneven ride.
    • 66 Metascore
    • 50 Inkoo Kang
    Despite all the splendor, there’s little sense of vision.
    • 58 Metascore
    • 50 Inkoo Kang
    Regrettably, Storm Over Brooklyn is only a rudimentary primer on the case, rather than a particularly comprehensive or insightful one. Many of its shortfalls have to do with director Muta'Ali's (Life's Essentials With Ruby Dee) narrow focus on the Hawkins family, especially since the film is most compelling when it evokes the pressure cooker of racial hostilities that New York City had become by the late '80s.
    • tbd Metascore
    • 10 Inkoo Kang
    I'm not sure who this remarkably tone-deaf, cynical-for-the-wrong-reasons film is supposed to be for, other than maybe college-hating gajillionaire Peter Thiel. As the kids used to say, thanks, I hate it.
    • 54 Metascore
    • 50 Inkoo Kang
    Incomplete-feeling film, which inadvertently illustrates how empathy without balance can obscure truth.
    • 64 Metascore
    • 70 Inkoo Kang
    And in these troubled, terrifying times, as many of us are stuck at home simultaneously glued to, and existentially exhausted by, the news, Spelling the Dream is the kind of lighthearted but smart escapism you don't have to feel guilty about.
    • 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.

Top Trailers