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.
    • 57 Metascore
    • 42 Eric Kohn
    Clive Davis: The Soundtrack of Our Lives
    Director Chris Perkel, who also edited, hasn’t made a movie so much as a prolonged tribute reel with ample material to fuel a dozen lifetime achievement award ceremonies.
    • 77 Metascore
    • 83 Eric Kohn
    Gerald's Game
    Gugino and Greenwood deliver first-rate performances enriched by their characters’ ambiguous qualities.
    • 70 Metascore
    • 83 Eric Kohn
    1922
    While nothing groundbreaking, the story mines a degree of profundity out of the traditional supernatural thriller tropes at its core.
    • 80 Metascore
    • 83 Eric Kohn
    Unrest
    Unrest works particularly well once Brea looks beyond the limitations of her own bedridden experiences to document other cases worldwide, providing a stirring collage of stories to illustrate the destructive impact of the disease and why it remains widely neglected by the medical community.
    • 46 Metascore
    • 50 Eric Kohn
    The Upside
    No surprises here, folks; just half-hearted punchlines and unadventurous sentimentality readymade for marketplace consumption.
    • 58 Metascore
    • 58 Eric Kohn
    Roman J. Israel, Esq.
    Rather than developing Roman’s conundrum, Roman J. Israel, Esq. settles for a prosaic character study laid out in painfully obvious terms, with a tacked-on twist in the third act just so that the story can find some way to end.
    • 79 Metascore
    • 67 Eric Kohn
    Brawl in Cell Block 99
    Brawl in Cell Block 99 unleashes a fascinating gamble, blending the grimy aesthetic of a one-note action movie with undercurrents of blue-collar frustration. It doesn’t quite succeed at fusing those two elements, but it’s further proof of a filmmaking sensibility willing to push beyond the presumed barriers of formula.
    • 51 Metascore
    • 75 Eric Kohn
    Breathe
    It’s a gorgeous, romantic drama that earns its emotional resonance without venturing beyond the most familiar beats.
    • 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.
    • 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.
    • 93 Metascore
    • 91 Eric Kohn
    Lady Bird
    Lady Bird is both snarky and sincere — a touching, markedly feminine ode to growing up that never takes its familiarity for granted. Gerwig earns the ability to make this rite-of-passage saga her own.
    • 69 Metascore
    • 67 Eric Kohn
    It
    At times, the movie excels at portraying the dread of children forced to confront a world indifferent to their concerns. But no matter how many times Pennywise leaps out from unexpected places, it’s impossible to shake the feeling that we’ve been here many times before.
    • 86 Metascore
    • 91 Eric Kohn
    Strong Island
    Equal parts journalistic investigation and family portrait, Ford’s delicate project transforms the source of his frustrations into an absorbing cinematic elegy.
    • 47 Metascore
    • 50 Eric Kohn
    What Happened to Monday
    Wirkola, who’s best known for his two “Dead Snow” zombie movies, struggles to tackle a more serious-minded tone this time around.
    • 56 Metascore
    • 67 Eric Kohn
    The Glass Castle
    Even when the the music swells and people talk through their problems to reach unremarkable conclusions, there’s an undercurrent of emotional authenticity.
    • 78 Metascore
    • 83 Eric Kohn
    Women Who Kill
    Offers a wry snapshot of self-involved New York lesbians that’s both enjoyably smarmy and unsettling in equal doses.
    • 59 Metascore
    • 75 Eric Kohn
    Lemon
    Enhanced by a number of notable comedic actors entering uncharted terrain, it’s the kind of movie that makes you laugh and flinch in equal measures, and despite some messier twists, never ceases to move in surprising directions.
    • 32 Metascore
    • 16 Eric Kohn
    Wish Upon
    Fortunately, you don’t need to wish for better versions of the movie experience Wish Upon calls to mind; they exist, and deserve repeat viewings far more than Wish Upon deserves one.
    • 82 Metascore
    • 83 Eric Kohn
    War for the Planet of the Apes
    With War for the Planet of the Apes, technological wizardry and first-rate storytelling combine into a bracing action-adventure that concludes the best science fiction trilogy since the original trio of “Star Wars” movies.
    • 27 Metascore
    • 50 Eric Kohn
    Transformers: The Last Knight
    It’s an unabashed freewheeling mess of CGI explosions, fast-talking strategies and shiny metal monstrosities clashing in epic battles. And it’s actually kind of fun, in an infuriating sort of way, to watch the most ridiculous Hollywood movie of the year do its thing.
    • 87 Metascore
    • 91 Eric Kohn
    En el Séptimo Día (On the Seventh Day)
    Once the movie arrives at its brilliant climax, the cumulative effects of passing details lead to sweeping payoff.
    • 31 Metascore
    • 50 Eric Kohn
    The Book of Henry
    It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.
    • 59 Metascore
    • 83 Eric Kohn
    Cars 3
    Considering that it’s a second sequel in a less-than-revered franchise, it’s a minor miracle that Cars 3 hits the finish line with a fresh sense of purpose.
    • 50 Metascore
    • 67 Eric Kohn
    How to Talk to Girls at Parties
    Mitchell transforms Neil Gaiman’s sci-fi short story into a vibrant, edgy and at times outright goofy statement on tough antiestablishment rebels and freewheeling hippy vibes, suggesting that they’re not really all that that different.
    • 65 Metascore
    • 67 Eric Kohn
    Ismael's Ghosts
    At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all. [Cannes Version]
    • 84 Metascore
    • 67 Eric Kohn
    You Were Never Really Here
    It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
    • 55 Metascore
    • 83 Eric Kohn
    Godard Mon Amour
    Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
    • 72 Metascore
    • 91 Eric Kohn
    Happy End
    Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
    • 86 Metascore
    • 75 Eric Kohn
    Loveless
    While not the same league as “Leviathan,” Zyvagintsev’s latest slow-burn look at anguished people tortured by problems beyond their control displays his mastery of the form.
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