For 344 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 8.1 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 If Beale Street Could Talk
Lowest review score: 10 Walter: Lessons from the World's Oldest People
Score distribution:
  1. Negative: 81 out of 344
344 movie reviews
    • 66 Metascore
    • 90 Inkoo Kang
    First-time helmer Peter Sohn and screenwriter Meg LeFauve (“Inside Out”) have created a fantastic and frequently exhilarating feature that showcases Pixar’s greatest strengths: technical brilliance, emotional texture, crossover appeal, and an impish sense of humor that takes the utmost advantage of the animated form.
    • 81 Metascore
    • 75 Inkoo Kang
    The film’s compassion for everyday Americans...along with its energetic determination to entertain, enlighten, and infuriate make it a laudable surprise.
    • 55 Metascore
    • 40 Inkoo Kang
    Timely but dreary and dramatically inept.
    • 51 Metascore
    • 45 Inkoo Kang
    Love feels deeply, but not complexly. Both Murphy and Noé’s sustained sex scenes understand want and need, but there’s little to invest in emotionally.
    • 68 Metascore
    • 50 Inkoo Kang
    "Art Addict” may be encyclopedic, but it’s all-too-rarely insightful.
    • 59 Metascore
    • 90 Inkoo Kang
    Unflinching yet unburdened, Miss You Already is like the best kind of hug: warm, reassuring, cathartic, and a fleeting but vital reminder that there’s at least as much good in the world as there is bad.
    • 49 Metascore
    • 35 Inkoo Kang
    Silicon Valley is built on various inequalities, and, frustratingly, CodeGirl isn’t interested enough in delving into those issues — or the girls determined to overcome them.
    • 67 Metascore
    • 85 Inkoo Kang
    The women’s movements are routinely and depressingly ignored by the movies. But Suffragette isn’t just a dutiful corrective, a lid to cover up a gap, but a necessarily distressing exploration of how much a political vanguard will push and endure to set things right — and how fiercely and eagerly a society that’s resistant to change will punish them for it.
    • 34 Metascore
    • 45 Inkoo Kang
    The Last Witch Hunter aims for pulpy, comic-book fun, but it’s never as fleet, funny, or detailed as it needs to be. And if you’re looking for something above middling in terms of plot, characters, world-building, even action sequences, you’ll need to seek it elsewhere.
    • 86 Metascore
    • 70 Inkoo Kang
    Larson excels at determined despair, simultaneously evincing vulnerability and fearlessness. It’s an exciting, tour-de-force performance by an actress who announces herself as one of the best of her generation. If only the film around her were as bold.
    • 77 Metascore
    • 75 Inkoo Kang
    This uneven but funny and engrossing drama is less about Victoria than about time itself: how it slows down in the bleary middle of the night, how it speeds up relationships between strangers when no one else is around, how capacious it is in containing the most unexpected of swerves and stumbles.
    • 60 Metascore
    • 70 Inkoo Kang
    Goofily self-aware and wholesomely boisterous, it’s a children’s picture whose sense of spooky fun readily diverts from its quibble-worthy messaging.
    • 61 Metascore
    • 45 Inkoo Kang
    Grace and poise are certainly embedded in Yousafzai’s DNA, but there’s frustratingly little of her vulnerability or interiority in the film.
    • 38 Metascore
    • 35 Inkoo Kang
    At best, The Green Inferno is a reliable shock and disgust-delivery system. At worst — and it certainly veers toward the worst — it’s a racially reprehensible work that exploits one of the world’s most powerless peoples. And no number of movie-geek references to “Cannibal Holocaust” is going to change that.
    • 74 Metascore
    • 90 Inkoo Kang
    The New Girlfriend is a delicate figurine: too quaint to feel necessary in the current climate of ever-bolder representations of trans lives, and yet rescued from disposability by its delicate beauty.
    • 78 Metascore
    • 90 Inkoo Kang
    Anchored by exceptional performances by the main actresses, Breathe is a confrontation with the terrifying volatility of adolescence.
    • 28 Metascore
    • 30 Inkoo Kang
    For all its cheap talk about the importance of innovation, Agent 47 just feels like a copy of a copy of a copy.
    • 70 Metascore
    • 65 Inkoo Kang
    The film confidently switches gears into a moving character study of how life passes by while you’re busy looking like you don’t care. More interesting than the growing fissures in their friendship are the increasingly ruinous consequences of thoughtlessness as a way of life.
    • 81 Metascore
    • 70 Inkoo Kang
    In a movie culture with near-inescapable CGI, old-fashioned animation like Shaun the Sheep is always a treat — and a romp this ambitiously aimless is an all-too-rare marvel.
    • 77 Metascore
    • 50 Inkoo Kang
    The news is only important insofar as it helps us understand the world. Best of Enemies, though, is only interested in zooming in to gaze lingeringly at the media’s navel.
    • 27 Metascore
    • 20 Inkoo Kang
    Pixels is ultimately a thoroughly numbing experience, not least because all the characters are doomed by a psychological flatness more two-dimensional than any arcade-game screen.
    • 45 Metascore
    • 70 Inkoo Kang
    A lovingly crafted B-level melodrama elevated by its remarkable central performance, Lila and Eve feels like Viola Davis’ “Still Alice.”
    • 53 Metascore
    • 35 Inkoo Kang
    Phoenix’s transformation from a scotch-soaked pile of tweed into a homicidally self-righteous ubermensch is fun to watch, but Allen too frequently loses sight of the story he’s telling.
    • 85 Metascore
    • 75 Inkoo Kang
    The film bustles along through a series of reveals – a storytelling technique that can lose an audience’s sympathy or suspension of disbelief pretty fast, but which works flawlessly here because the filmmakers and the performers know exactly who their characters are and what kind of world they live in.
    • 85 Metascore
    • 85 Inkoo Kang
    Amy
    Amy is both biography and autopsy, an exhaustive chronicle of her rise to the top of the charts and a bare-knuckled indictment of the vulturish men who took advantage of the emotionally vulnerable singer.
    • 47 Metascore
    • 45 Inkoo Kang
    Max
    None of these plot points are run through with any thoughtfulness or panache. Despite a great, unaffected performance by Wiggins — the only one among the cast — and the primal joy of seeing the dog actors sprinting, leaping and maybe even emoting, the film is sunk because the characters never transcend their seeming origins in a Disney Channel movie project.
    • 65 Metascore
    • 50 Inkoo Kang
    Brice’s script boasts a few surprises, but this is essentially a highly competent film about boring people’s boring problems.
    • 74 Metascore
    • 55 Inkoo Kang
    Appropriate to its teenage milieu, Alfonso Gomez-Rejon‘s breakthrough film isn’t unlike spending a couple of hours with an exceptionally witty high-schooler: It’s entertaining as hell, but you can’t help rolling your eyes a little at its self-satisfied pseudo-profundities.
    • 80 Metascore
    • 75 Inkoo Kang
    Like Wilson’s cornball “California Girls,” Love & Mercy is by no means a complicated portrait, and yet it’s a curiously satisfying one.
    • 76 Metascore
    • 80 Inkoo Kang
    The men are slightly forgettable, but the woman is not. Far from the flawless fembot in “Ex Machina,” Vikander’s slight gawkiness is highlighted here, allowing her to look like a real girl, absolutely the right decision by Kent.

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