For 326 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 8.3 points lower than other critics. (0-100 point scale)

Inkoo Kang's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Son of Saul
Lowest review score: 10 Home Sweet Hell
Score distribution:
  1. Negative: 78 out of 326
326 movie reviews
    • 62 Metascore
    • 30 Inkoo Kang
    First-time feature writer Sofia Alvarez’s attempt to shrink Han’s lengthy, largely internal, and culturally specific story into a 97-minute movie is, simply put, a botch job. Stilted and scattered and strangely cold in its cinematography, it’s a handsomely shot whole lotta nothin’.
    • 82 Metascore
    • 80 Inkoo Kang
    BlacKkKlansman may well be the first film to frame the Trump era as one of regression in response to the progress of the Obama years.
    • 74 Metascore
    • 90 Inkoo Kang
    Emotionally layered, culturally specific, and frequently hilarious, Crazy Rich is a transportive delight, with food montages to die for (the film offers a splendid showcase of Singapore’s justly celebrated street-food scene) and a wedding processional so exquisite I started crying at its sheer beauty.
    • 51 Metascore
    • 40 Inkoo Kang
    Lines that should be funny are sacrificed to the breathless exigencies of the plot. The movie starts to feel like a slow suffocation.
    • 67 Metascore
    • 70 Inkoo Kang
    It’s an important corrective to many contemporary and historical accounts of Hollywood, reinstating the queerness that has too often been straight-washed out of them.
    • 84 Metascore
    • 80 Inkoo Kang
    Directors Ian Bonhôte and Peter Ettedgui’s smartest tactic — the one that makes McQueen such a pleasure to watch, even for fashion outsiders — is giving viewers a front-row seat to the runway, then letting us judge the designer’s oeuvre for ourselves.
    • 76 Metascore
    • 90 Inkoo Kang
    The dual portrait that Blindspotting offers is heady and dense and mighty compelling.
    • 74 Metascore
    • 40 Inkoo Kang
    instead of focusing on the comedian’s complexities, Come Into My Mind focuses on his heartbreak. Perhaps Zenovich wanted to offer closure to fans still shocked by Williams’ final choice. But any artist is far more than their struggles. A proper remembrance would have understood that.
    • 81 Metascore
    • 80 Inkoo Kang
    Sorry to Bother You is so smart and so potent for so long — and so inventive yet thoughtfully measured in its use of the absurd — that the flaws simply give way. You don’t remember the endings of dreams, after all — just the parts that left you in a pool of your own sweat.
    • 54 Metascore
    • 50 Inkoo Kang
    By exposing on the top-down class-warfare origins of the annual event, the prequel elaborates on the series’ earnest political commentary — and exposes its limits as well.
    • 68 Metascore
    • 60 Inkoo Kang
    Portman’s voiceover performance is full of conviction, but I wish that Eating Animals gave us different models of vegetarianism than she and Foer, a diminutive actress and a bookish Brooklynite, respectively.
    • 88 Metascore
    • 90 Inkoo Kang
    The fissure between father and daughter approaches like a snake. It sneaks up on you, then leaves you in paralyzed shock.
    • 51 Metascore
    • 30 Inkoo Kang
    The self-serious meditations on fate and responsibility — as well as the uneven but ever-charged flare-ups between Izzy and whoever she’s talking to — recall exercises in an acting class. By the end, we understand her motivations and recent biography, but precious little about who she is as a person.
    • 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.
    • 56 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.
    • 27 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.
    • 68 Metascore
    • 60 Inkoo Kang
    Mo’s story feels rare, relevant and real. But we’re stuck on the outside looking in.

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