Marc Mohan

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Portland Oregonian
For 771 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 4 points higher than other critics. (0-100 point scale)

Marc Mohan's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Young@Heart
Lowest review score: 0 Cop Out
Score distribution:
  1. Positive: 544 out of 771
  2. Mixed: 188 out of 771
  3. Negative: 39 out of 771
771 movie reviews
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    • 65 Metascore
    • 67 Marc Mohan
    Hope Springs
    It takes an almost bracingly explicit attitude toward issues of sexual intimacy, to the degree that just seeing this film might count as therapy for some married couples. The PG-13 rating is justified, and should be taken literally, though I can't imagine too many parents bringing their kids to this one. Talk about an awkward car ride home. 
    • 57 Metascore
    • 58 Marc Mohan
    Trishna
    The relationship between Trishna and Jay never rings as true as it needs to for the downbeat third act to resonate the way it was presumably intended to do.
    • 41 Metascore
    • 58 Marc Mohan
    Grassroots
    Perhaps the most curious omission from the movie Grassroots is that there's no mention at all of the classic "Simpsons" episode "Marge vs. the Monorail."
    • 59 Metascore
    • 91 Marc Mohan
    Seeking a Friend for the End of the World
    Predictable, contrived, sappy and, ultimately, against all odds, remarkably fulfilling.
    • 53 Metascore
    • 67 Marc Mohan
    Hysteria
    For a film that shows the folly of failing to take the female orgasm seriously, Hysteria ends up taking a silly angle on a potentially fascinating slice of secret history.
    • 72 Metascore
    • 67 Marc Mohan
    Safety Not Guaranteed
    The movie shifts awkwardly from slapstick firearms training sessions to tender campfire kisses to straightforward suspense (who are those mysterious trench-coated figures?). Combined with unconvincing behavior from all of its characters, that's enough to leave this a disappointing realization of a potentially fascinating idea.
    • 41 Metascore
    • 42 Marc Mohan
    Darling Companion
    The whole thing has the feel of a fact-based dinner-table anecdote absurdly puffed up to feature length.
    • 62 Metascore
    • 75 Marc Mohan
    The Best Exotic Marigold Hotel
    Graham is the most affecting character by far, having returned to India for the first time in 40 years to track down an old lover. His story unfolds in surprising, deftly handled ways, and could easily have justified a film of its own.
    • 65 Metascore
    • 83 Marc Mohan
    The Salt of Life
    This being an Italian film, and Gianni being such a hapless, kindhearted aspiring Lothario, make this perhaps the sweetest movie ever made about a guy trying to cheat on his wife.
    • 48 Metascore
    • 42 Marc Mohan
    Blue Like Jazz
    The potential for an interesting story is high. Unfortunately, Miller's autobiographical tale, as told in Blue Like Jazz, squanders this potential by failing to take place in a recognizably real world.
    • 60 Metascore
    • 91 Marc Mohan
    Jeff Who Lives at Home
    It's an ending that may alienate some viewers, but will jolt others out of their comfort zones and into an appreciation of genuinely brave storytelling.
    • 82 Metascore
    • 83 Marc Mohan
    Le Havre
    Kaurismäki is a master of expressive stillness for whom inaction often speaks louder than words, and the performances he elicits are perfectly pitched, including young Miguel's.
    • 63 Metascore
    • 75 Marc Mohan
    My Reincarnation
    It offers a rare look at the everyday life of a spiritual leader, so that even if Yeshi's dilemma never seems that urgent or vital, My Reincarnation remains a compelling, universal film.
    • 81 Metascore
    • 75 Marc Mohan
    Melancholia
    The experience of psychological depression has been described with a variety of metaphors. William Styron called it "darkness visible," and Winston Churchill euphemized his bouts as "the black dog." In typically grandiose fashion, though, Lars von Trier tops them all.
    • 74 Metascore
    • 75 Marc Mohan
    Into the Abyss
    This is more Errol Morris' or Truman Capote's territory than Herzog's, and his patient, determinedly respectful interviews with members of the American underclass bear a whiff of European condescension.
    • 75 Metascore
    • 91 Marc Mohan
    Martha Marcy May Marlene
    It's a topic that's been handled in films before, perhaps most notably in Jane Campion's "Holy Smoke," but Durkin offers the most persuasively believable peek into the psyche of such a character I've ever seen.
    • 64 Metascore
    • 67 Marc Mohan
    The Way
    The performances are solid, the cinematography is stunning, and the setting is intriguing. But the whole thing feels bloodless, hitting us over the head with its understatedness. Anytime a film's soundtrack features The Shins, James Taylor, and Nick Drake, you know you're in for an overly laid back time.
    • 67 Metascore
    • 83 Marc Mohan
    The Ides of March
    A harsh self-examination of the cynicism that has crept into every cranny of the political landscape. As such, it's absolutely a story of our times.
    • 72 Metascore
    • 83 Marc Mohan
    50/50
    Thanks to a slew of engaging performances and a script that finds the sweet spot between crass and curdled, it's a winner.
    • 59 Metascore
    • 50 Marc Mohan
    My Afternoons with Margueritte
    The only thing that could make this movie more French would be a guillotine.
    • 74 Metascore
    • 83 Marc Mohan
    Higher Ground
    Ultimately, though, this is a story about a conflicted, intelligent, flawed, moral woman making her way through her life.
    • 63 Metascore
    • 50 Marc Mohan
    Amigo
    The cinematography is crisp but sterile, and no one's clothes ever seem to get muddy or torn -- in short, there's no real sense of the atmosphere of a sticky, buggy, fetid jungle, and no intensity to a story that cries out for a sense of moral outrage.
    • 59 Metascore
    • 58 Marc Mohan
    The Whistleblower
    There's a conflict between the film's need for some sort of closure and the messiness of the reality it depicts that leaves The Whistleblower even more unsatisfying than it was meant to be.
    • 68 Metascore
    • 83 Marc Mohan
    Rise of the Planet of the Apes
    It's the rest of the movie, especially a grin-inducing final third, which makes "Apes" rise above the level of a typical sci-fi rehash.
    • 42 Metascore
    • 42 Marc Mohan
    Snow Flower and the Secret Fan
    Jumping repeatedly and randomly from present-day Shanghai to 1997 to 1829 and periods in between, the film has a pace that seems almost willfully tedious.
    • 59 Metascore
    • 75 Marc Mohan
    Sarah's Key
    Sarah's story is harrowing and powerfully told, as she valiantly attempts to escape and return home with the key to free her brother. Director Gilles Paquet-Brenner doesn't stint on depicting the indignities and violence inflicted even on children, and Mayance's performance is exceptionally strong.
    • 62 Metascore
    • 75 Marc Mohan
    The Last Mountain
    A compelling examination of a complex topic.
    • 64 Metascore
    • 83 Marc Mohan
    A Better Life
    Weitz does it again here, turning what could have been another manifesto of liberal guilt into a genuinely moving tale of a father and son banding together in a hostile world.
    • 65 Metascore
    • 83 Marc Mohan
    Viva Riva!
    Digitally shot, the film looks great, and the performances ooze charisma. The biggest star, though, may be Kinshasa itself, a roiling, barely cohesive sea of humanity that seems as if it could serve as a backdrop for some fascinating films for years to come.
    • 84 Metascore
    • 75 Marc Mohan
    13 Assassins
    It may not be the most memorable saga put on film, but as far as Miike is concerned, it doesn't have to be.
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