For 1,027 reviews, this critic has graded:
  • 75% higher than the average critic
  • 3% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 13.1 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 77
Highest review score: 100 Paterson
Lowest review score: 16 Rings
Score distribution:
1027 movie reviews
    • 74 Metascore
    • 75 Eric Kohn
    Tyrel establishes its intentions within the opening minutes, and more or less follows a straightforward trajectory in its trenchant exploration of race relations.
    • 55 Metascore
    • 67 Eric Kohn
    Despite tackling our crazy times, The Oath somehow winds up not quite crazy enough to assess them.
    • 62 Metascore
    • 50 Eric Kohn
    By the time Apostle arrives at its big reveal, the movie has veered off on so many tangled pathways that the ending can’t resolve them all. Instead, it provides a single, ethereal image that hints at the more imaginative possibilities lurking somewhere inside this bloody mess.
    • 63 Metascore
    • 83 Eric Kohn
    As Hold the Dark sputters to an unsatisfying finale, Wright’s character promises to explain everything that came before. The movie’s great punchline is that he’ll never be able to sort it all out — and we’re right there with him, reeling from a disquieting saga that has no patience for anyone in need easy answers, but keen on leaving us gasping for breath.
    • 67 Metascore
    • 83 Eric Kohn
    As with all of Alverson’s movies, the hypnotic storytelling takes time to settle in and encourages viewers to ponder its enigmatic pathways, not all of which lead to satisfying places. Nevertheless, this somber and lyrical achievement is the warmest and most inviting work from a director who traffics in an acquired taste.
    • 60 Metascore
    • 75 Eric Kohn
    While Kelly’s faithful dramatization doesn’t offer a lot of fresh insights, and fizzles by the end, it remains an involving snapshot of two women grappling with their private and public personas until they collide.
    • 69 Metascore
    • 75 Eric Kohn
    It’s an obvious but enjoyable period piece — and a throwback to another era of Hollywood filmmaking, resurrected in the 21st century with two of the best actors working today, who elevate this didactic form of storytelling above the market standard for schmaltz.
    • 28 Metascore
    • 42 Eric Kohn
    A shocking misfire that nevertheless demonstrates the sheer confidence in his storytelling that Dolan has cultivated over a decade of movies. It’s the only possible explanation for this baffling ensemble piece, a campy (if at times inspired) burst of melodrama and ludicrous scenarios caving into each other in a spectacular mash of half-baked ideas.
    • 75 Metascore
    • 83 Eric Kohn
    It’s a remarkable educational experience for anyone eager to go back to the basics. In the process, it arrives at a deeper understanding of the underlying impulse, while delivering an emotionally resonant narrative with plenty of cute animals to spare.
    • 77 Metascore
    • 83 Eric Kohn
    Hill’s story suggests equal parts “Freaks and Geeks,” “Kids,” and the adolescent-focused narratives of British director Shane Meadows, but Hill cribs from these precedents with a confidence that injects this lively snapshot of skateboarding reprobates with fresh confidence.
    • 82 Metascore
    • 83 Eric Kohn
    More impressionistic than the searing intellectualism of his last work, Monrovia, Indiana at once demonstrates Wiseman’s formidable cinematic capabilities while posing a number of tantalizing questions about the community at its center.
    • 89 Metascore
    • 91 Eric Kohn
    Moore’s compassionate performance confirms the strength of the original and its beloved heroine’s universal appeal. More than that, Gloria Bell proves that the best stories can be told endlessly, so long as they’re told well.
    • 87 Metascore
    • 91 Eric Kohn
    If Beale Street Could Talk stalls about halfway through with less involving developments and stilted roles for supporting characters...but it always regains its footing with another entrancing observation.
    • 71 Metascore
    • 75 Eric Kohn
    As Sebastian Silva wrestles with several different kinds of movies, the child’s perspective fuses them together, and the movie becomes a startling representation of a society collapsing into chaos.
    • 88 Metascore
    • 91 Eric Kohn
    Ultimately, Widows works as well as it does due to the way McQueen juggles substance with entertainment value to such eager subversive ends. The movie engages with topics as complex as sexism, police brutality, and interracial marriage, but it still delivers on the car chases and gunplay.
    • 69 Metascore
    • 67 Eric Kohn
    Green has made a slavish, sharply executed bit of fan service elevated by Jamie Lee Curtis’ transformation into a badass grandmother back to finish the job.
    • 69 Metascore
    • 75 Eric Kohn
    It might not be his best filmmaking, but Fahrenheit 11/9 is fraught with a critical mindset that syncs with the zeitgeist. It’s a messy movie for messy times.
    • 63 Metascore
    • 75 Eric Kohn
    Chalamet, a heartthrob unafraid to tackle unglamorous material, so embodies the tragic struggles of a drug-addled young man it’s a wonder he made it through the production, while Carell’s melancholic eyes absorb every detail. It’s a haunting two-hander that allows their talent to tower over everything else.
    • 68 Metascore
    • 83 Eric Kohn
    American Dharma delivers a suspenseful and upsetting showdown between one man confident of his cause and another mortified by it.
    • 59 Metascore
    • 50 Eric Kohn
    In Yann Demange’s bland retelling, the kid’s downward spiral has been reduced to a series of crude, unremarkable encounters and the very thing this true story shouldn’t be: poverty porn. Nevertheless, Demange manages to stitch together a number of involving scenes that track Ricky’s harsh upbringing and the events that precipitated his downfall.
    • 83 Metascore
    • 83 Eric Kohn
    It’s an impressive illustration of a director in command of the medium, but more than that, points to the potential in whatever she does next.
    • 78 Metascore
    • 83 Eric Kohn
    It’s the stirring chemistry between Joaquin Phoenix and John C. Reilly as committed siblings that transforms these lively, violent circumstances into a sweet and intimate journey designed to catch acolytes of the genre off-guard.
    • 87 Metascore
    • 91 Eric Kohn
    McCarthy elevates the material at every opportunity, and whenever the camera lingers on her expressions, she’s a study in contradictions — tough and tender all at once, unsure which side of that spectrum to unleash.
    • 64 Metascore
    • 75 Eric Kohn
    The movie takes its time to provide a satisfying rationale, occasionally suffering from a sluggish pace and sleepy atmosphere that lessens the underlying mystery surrounding Erin’s mission, but Kidman imbues the material with continuous bite.
    • 81 Metascore
    • 83 Eric Kohn
    So much of Welles’ history has been relegated to scholarly texts that it’s a thrill to see this final chapter laid out with such clarity and charm.
    • 79 Metascore
    • 83 Eric Kohn
    The Old Man & the Gun eschews pastiche for a sweet, affable character study that resurrects Redford’s original star power with a wet kiss. The entire picture amounts to a low-key cinematic resurrection.
    • 76 Metascore
    • 67 Eric Kohn
    "Buster Scruggs” is a singular illustration of what makes the Coen formula so appealing, and a reminder of so many better examples.
    • 81 Metascore
    • 75 Eric Kohn
    Fans of the director’s late-period work (particularly his last completed effort, the rapid-fire diary film “F for Fake”) will find it thrilling to return to those unpredictable, garrulous recesses, no matter the bumpy ride. Welles continues to contemplate storytelling, Hollywood, and his own troubled career by transforming these obsessions into a marathon of creativity.
    • 96 Metascore
    • 100 Eric Kohn
    Roma is by far the most experimental storytelling in a career filled with audacious (and frequently excessive) gimmicks. Here, he tables the showiness of “Children of Men” and “Gravity” in favor of ongoing restraint, creating a fresh kind of intimacy. Like a grand showman working overtime to tone things down, he lures viewers into an apparently straightforward scene, only to catch them off guard with new information.
    • 67 Metascore
    • 42 Eric Kohn
    Abrahamson seems so coy about the haunting of the Ayres’ house that he refuses to allow the movie’s strongest aspect to take center stage, and the perils of The Little Stranger hover aimlessly throughout the movie like a specter in search of some elusive white light.

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