Eric Kohn

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IndieWire
For 1,258 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 10.7 points higher than other critics. (0-100 point scale)

Eric Kohn's Scores

  • Movies
  • TV
Average review score: 76
Highest review score: 100 Creative Control
Lowest review score: 16 Rings
Score distribution:
  1. Positive: 1,073 out of 1258
  2. Mixed: 162 out of 1258
  3. Negative: 23 out of 1258
1258 movie reviews
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    • 65 Metascore
    • 83 Eric Kohn
    Last Flag Flying
    Above all, Last Flag Flying illustrates a fascinating link between Ashby and Linklater, two filmmakers from different eras who both explore American society’s capacity to alienate the same people contributing to its identity. That gloomy proposition finds a fresh tone in Linklater’s hands, where angry, disillusioned people still manage to find room to laugh.
    • 67 Metascore
    • 83 Eric Kohn
    Gabriel
    Gabriel never entirely compliments its eponymous subject with a story that can match his erratic mentality, but Howe's restrained approach is refreshingly unsentimental, never once creating the possibility of an easy resolution to the situation.
    • 72 Metascore
    • 83 Eric Kohn
    First They Killed My Father
    The result is relentless and involving even when it stumbles. Jolie may not be a full-fledged auteur yet, but she unquestionably possesses a singular aesthetic that courses through her work and exists completely apart from her high-profile acting career.
    • 76 Metascore
    • 83 Eric Kohn
    The Iron Ministry
    The Iron Ministry turns the chaos of modern China into dense, frantic poetry.
    • 81 Metascore
    • 83 Eric Kohn
    Top Five
    Rock's savage wit comes through in the wry screenplay, which is loaded with topicality as it pokes fun at subjects ranging from Tyler Perry movies to Angry Birds.
    • 54 Metascore
    • 83 Eric Kohn
    Swim Little Fish Swim
    This admittedly uneven first feature stands out for the way it sneaks up on you.
    • 75 Metascore
    • 83 Eric Kohn
    Morris from America
    The climax feels a bit under-realized, but never less than genuine. More than anything else, Morris From America excels at conveying the inherent power of companionship in a largely indifferent world.
    • 64 Metascore
    • 83 Eric Kohn
    Ready Player One
    It runs too long and drags a bunch in its final third, but make no mistake: This is Spielberg’s biggest crowdpleaser in years, a CGI ride that wields the technology with an eye for payoff.
    • 55 Metascore
    • 83 Eric Kohn
    Hobo with a Shotgun
    Loaded to the gills with thrill-inducing mayhem, Hobo with a Shotgun feels almost tribal in its commitment to violence.
    • 60 Metascore
    • 83 Eric Kohn
    The Other F Word
    While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
    • 58 Metascore
    • 83 Eric Kohn
    7500
    7500 takes a familiar scenario and doubles down on its claustrophobic potential to make it fresh.
    • 79 Metascore
    • 83 Eric Kohn
    Thunder Road
    While it remains a fascinating character study driven by Cummings’ striking delivery, it also falls back on conventional twists. The resulting drama showcases a remarkably strong vision in the confines of more familiar story beats, but it’s a testament to Cummings’ maniacal performance that he manages to keep us engaged.
    • 46 Metascore
    • 83 Eric Kohn
    Wonder Wheel
    Winslet delivers her most powerful, emotionally resonant performance in more than a decade.
    • 69 Metascore
    • 83 Eric Kohn
    My Psychedelic Love Story
    It’s a welcome return to form for a filmmaker whose form is all about the slippery search for truth.
    • 80 Metascore
    • 83 Eric Kohn
    Going Clear: Scientology and the Prison of Belief
    Going Clear delivers an efficient overview of Scientology's dark history with a cohesive focus on the precision of its corrupt motives.
    • 60 Metascore
    • 83 Eric Kohn
    The Nowhere Inn
    At times a bit too enamored of these loose conceits, The Nowhere Inn sometimes registers as a cheap fuck-with-the-audience provocation that might have been better suited for a viral short (or several), but at its finest moments the movie conjures a singular vision steeped in zaniness, but not devoid of purpose.
    • 76 Metascore
    • 83 Eric Kohn
    Flight
    Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
    • 77 Metascore
    • 83 Eric Kohn
    While We're Young
    While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
    • 78 Metascore
    • 83 Eric Kohn
    Sorry to Bother You
    The movie juggles a few too many subplots and not every joke lands, but it’s loaded with capricious details that shimmer with the exuberance of inspired social commentary at hyperspeed.
    • 75 Metascore
    • 83 Eric Kohn
    DAU. Natasha
    DAU. Natasha is haunting and effective, but not always the sum of its parts, and sometimes has a tendency to drag. Even so, the spell lingers long after the credits roll, and the opportunity to consider the many sides of DAU. Natasha is a unique intellectual exercise.
    • 71 Metascore
    • 83 Eric Kohn
    Brad's Status
    Even as Brad’s Status doesn’t overextend its reach, Stiller gives the material a touching, soulful core.
    • 87 Metascore
    • 83 Eric Kohn
    Small Axe: Education
    This minuscule but affecting hourlong story is an extension of the “Small Axe” mission to fill a historical gap deserving of greater scrutiny, and achieves that goal by serving as a kind of education itself.
    • 57 Metascore
    • 83 Eric Kohn
    The Strange Ones
    Its atmospheric sophistication holds strong throughout, channeling a wonder for the natural world reminiscent of Terrence Malick with an air of existential dread straight out of Andrei Tarkovsky.
    • 86 Metascore
    • 83 Eric Kohn
    Argo
    Equally a slick political thriller, intelligent period piece and sly Hollywood satire, Ben Affleck's Argo maintains a careful balance between commentary and entertainment value.
    • 77 Metascore
    • 83 Eric Kohn
    A Band Called Death
    A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
    • 85 Metascore
    • 83 Eric Kohn
    Fruitvale Station
    Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.
    • 79 Metascore
    • 83 Eric Kohn
    Hermia & Helena
    By positioning Shakespeare within a chatty tale of young adulthood — and giving it a feminist slant — Piñeiro proves the vitality of the material without becoming subservient to it.
    • 75 Metascore
    • 83 Eric Kohn
    Border
    Abbasi grounds the narrative in an emotional foundation even as it flies off the rails.
    • 86 Metascore
    • 83 Eric Kohn
    Krisha
    Krisha snaps into focus whenever Shults' camera remains trained on his extraordinary lead, whose fierce commitment easily recalls a similar portrait of middle-aged alcoholism in "A Woman Under the Influence" — and, at under 90 minutes, matches its intensity in half the time.
    • 77 Metascore
    • 83 Eric Kohn
    Have a Nice Day
    The vivid palette of Liu’s animation conveys a comic book-like exuberance to the proceedings, but the underlying socioeconomic frustration is very real.
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