For 313 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 8.4 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Jobriath A.D.
Lowest review score: 10 Samson
Score distribution:
  1. Negative: 76 out of 313
313 movie reviews
    • 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.
    • 57 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.
    • 26 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.
    • 72 Metascore
    • 70 Inkoo Kang
    RBG
    Surely Ginsburg is far more interesting than her devotees, her enemies, or this film make her out to be.
    • 42 Metascore
    • 50 Inkoo Kang
    The new paint job is nice, but the insides may be too creaky to salvage.
    • 75 Metascore
    • 100 Inkoo Kang
    I saw Tully twice. After my first screening, I wasn’t sure what to think of the ending. The second time, I was convinced of the film’s brilliance.
    • 74 Metascore
    • 50 Inkoo Kang
    With Rachel Weisz and Rachel McAdams starring as its furtive, inflamed lovers, Disobedience has pedigree to spare. But the result feels wonky and lopsided, as if several crucial scenes were left behind on the cutting-room floor.
    • 47 Metascore
    • 20 Inkoo Kang
    I Feel Pretty is an honest-to-God fiasco. Virtually every single aspect of this rigidly unfunny comedy is botched, from the characters to the plot, the themes to the core message.
    • 57 Metascore
    • 60 Inkoo Kang
    At 75 minutes, the resulting feature is the definition of slight, but just winsome and optimistic enough to justify itself.
    • 92 Metascore
    • 90 Inkoo Kang
    The film makes its primary case eloquently and elegiacally: The only thing more lonesome than a cowboy, surveying a land where no one understands him, is that same cowboy without a horse.
    • 69 Metascore
    • 80 Inkoo Kang
    Blockers is about as funny and heartfelt as studio comedies get (which isn’t meant as a backhanded compliment), while smart and insightful enough to double as a guide to raising teenage girls.
    • 67 Metascore
    • 60 Inkoo Kang
    Chappaquiddick may or may not be what actually happened, but it gets at enough piercing truths.
    • 69 Metascore
    • 60 Inkoo Kang
    Mo’s story feels rare, relevant and real. But we’re stuck on the outside looking in.
    • 64 Metascore
    • 50 Inkoo Kang
    Ready Player One has no obligation to be a rigorous intellectual exercise, even if it amounts to a wasted opportunity to explore who else might steer tech, and society, toward greater equity. But it doesn’t have to be so facile, either. Maybe next time the screenwriters shouldn’t set the difficulty mode to “easy.”
    • 49 Metascore
    • 40 Inkoo Kang
    Ultimately, the overstuffed, under-dramatized film fails to fully develop the stakes at hand, but it features more thoughtful world-building than most faith-based films, as well as a bracing honesty about the difficulty of reconciling idealistic credos with a harsh and unforgiving world.
    • 48 Metascore
    • 80 Inkoo Kang
    An obligatory setup for a sequel slows down the final moments, but until then, Tomb Raider feels like a perfectly paced trio of espresso shots, with a shot of adrenaline to the heart as a chaser.
    • 75 Metascore
    • 70 Inkoo Kang
    If you don’t mind your movies nasty, brutish, and slight, you couldn’t ask for a more delectable chocolate-covered razor blade.
    • 69 Metascore
    • 70 Inkoo Kang
    Writer-director Hirayanagi runs into a few minor pacing miscalculations, but Oh Lucy!, based on her 2014 short of the same name, is a tense, observant, and heartfelt accomplishment.
    • 17 Metascore
    • 10 Inkoo Kang
    The film is just plain bad, with an amateur cast (led by Taylor James), cut-rate special effects, who-cares storylines, and confusing details shoehorned in from the Bible.
    • tbd Metascore
    • 60 Inkoo Kang
    Part incomplete rom com, part squishy lampoon, La Boda de Valentina ultimately falls short in both modes, but accomplishes just enough to warrant a RSVP.
    • 86 Metascore
    • 90 Inkoo Kang
    The best surprise in A Fantastic Woman might be how lived-in Marina’s existence feels despite the tenuousness of her housing, her romantic fulfillment, and her legal rights.
    • 54 Metascore
    • 70 Inkoo Kang
    The Chris Hemsworth vehicle is is often hammy, but also wryly funny, breath-stoppingly tense, and uncommonly intelligent. Its January dump is a disservice to a promising debut feature.
    • 35 Metascore
    • 20 Inkoo Kang
    Proud Mary did not screen for critics, nor should it have. It’s a copy of a copy of a mediocre original, with the drab aesthetics of a TV movie and the emotional hollowness of an infomercial.
    • 65 Metascore
    • 50 Inkoo Kang
    Grahame’s contributions to cinema are more than worthy of a reevaluation. Her complications, too, deserve more than this tepid, uncurious portrait.
    • 71 Metascore
    • 50 Inkoo Kang
    It’s too bad that Chastain’s heady, exquisitely subtle performance is dragged down by the laughably vehement male characters that seek to speak for her. You can’t keep a good woman down. But you can constantly talk over her, I guess.
    • 70 Metascore
    • 70 Inkoo Kang
    It’s a totally serviceable, if disappointingly uncinematic, film about a singular celebrity.

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