Eric Kohn Movie Reviews & Previews - Rotten Tomatoes

Eric Kohn

Eric Kohn
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
C- 49% Skyscraper (2018) "Skyscraper" plays out like a metaphor for diminishing returns - Johnson keeps climbing, higher and higher, until there's nowhere left to go but down.‐ indieWire
Read More | Posted Jul 10, 2018
B 53% The First Purge (2018) [Y'lan] Noel has the makings of a genuine blockbuster star - if the studios will have him. In the meantime, "The First Purge" gives him just enough material to flex his muscles.‐ indieWire
Read More | Posted Jul 3, 2018
B- 87% Ant-Man and the Wasp (2018) The essence of "Ant-Man" is inherently silly, and that's where the strength of the new movie lies. ‐ indieWire
Read More | Posted Jun 27, 2018
A 93% Sunday's Illness (La enfermedad del domingo) (2018) In its disquieting, deliberate pace and otherworldly imagery, it takes on a ghostly quality even though no actual spirits materialize. ‐ indieWire
Read More | Posted Jun 18, 2018
C- 51% Jurassic World: Fallen Kingdom (2018) The franchise's latest entry takes its cues from the knuckleheaded plotting and CGI overload of Jurassic World, where super-sized dinos face dumb capitalists and bleeding-heart environmentalists toil to save the day. We all know the drill.‐ indieWire
Read More | Posted Jun 5, 2018
B+ 85% The Wild Pear Tree (Ahlat agaci) (2018) Ceylan may not be a filmmaker who compromises his style, but with The Wild Pear Tree, he manages to inject familiar emotions into a movie that's all about wrestling creative ambitions into a relatable whole.‐ indieWire
Read More | Posted May 21, 2018
B- 59% The Man Who Killed Don Quixote (2018) It's clear that Gilliam developed a genuine relationship to this material from his own creative yearning. ‐ indieWire
Read More | Posted May 18, 2018
A- 94% Burning (Beoning) (2018) Burning keeps twisting back on itself, charting the path of a man waking up to the world, only to find that it won't stop messing with him.‐ indieWire
Read More | Posted May 17, 2018
C 43% At War (En guerre) (2018) It's a theme that resonates for millions, but the problem with At War isn't its sincerity so much as the way it takes its central ideas for granted. ‐ indieWire
Read More | Posted May 16, 2018
A 86% Long Day's Journey Into Night (Di qiu zui hou de ye wan) (2018) The Chinese director's sophomore effort is a fascinating application of filmmaking innovation toward expressionistic ends. ‐ indieWire
Read More | Posted May 16, 2018
B+ 61% Under the Silver Lake (2018) It's fascinating to watch Mitchell grasp for a bigger picture with the wild ambition of his scruffy protagonist.‐ indieWire
Read More | Posted May 16, 2018
A- 52% The House That Jack Built (2018) Dillon might have trouble putting this one at the top of his resume if he wants to do a Disney film, but there's no question he delivers an impactful movie monster, with darting eyes and a toothy smile that makes Jack at once seem empathetic and bonkers.‐ indieWire
Read More | Posted May 15, 2018
B 100% Three Faces (2018) Even as Three Faces staggers along, it maintains the unique blend of introspection and intrigue that defines this singular director's talent. ‐ indieWire
Read More | Posted May 14, 2018
B+ 92% Happy as Lazzaro (Lazzaro felice) (2018) Rohrwacher's unhurried pace, filled with drifting camerawork and dead air, combines documentary-like aesthetic of Italian neorealism with mysterious circumstances, a steady formula that by now reflects her homegrown style. ‐ indieWire
Read More | Posted May 14, 2018
B 50% Asako I & II (Netemo sametemo) (2018) It's refreshing to see a high-concept movie that doesn't assume every love story has to reach a tidy conclusion, and implies that some happy endings are best left open-ended.‐ indieWire
Read More | Posted May 14, 2018
B- 29% Girls of the Sun (Les filles du soleil) (2018) Barreling forward with fits of strong drama and underwritten characters, Girls of the Sun features just enough good scenes to make one wish they held together as a whole. ‐ indieWire
Read More | Posted May 14, 2018
A- 84% Climax (2018) Even with its morbid finale, Climax implies that the dangerous party's never really over, and the dance never really ends.‐ indieWire
Read More | Posted May 14, 2018
B 76% The Image Book (Le livre d'image) (2018) In the process of pulling movies apart, The Image Book forms a closing chapter in a work that Godard began with Breathless in 1960. ‐ indieWire
Read More | Posted May 11, 2018
B 50% Yomeddine (2018) The movie lands on the tantalizing suggestion that while being an outcast can lead to anger and frustration, those same emotions can also be a source of pride.‐ indieWire
Read More | Posted May 10, 2018
B 100% Border (Gräns) (2018) [It] builds out such an unusual premise that it risks devolving into quirky inanity, but Abbasi grounds the narrative in an emotional foundation even as it flies off the rails.‐ indieWire
Read More | Posted May 10, 2018
B+ 48% Everybody Knows (Todos lo saben) (2018) Knowledge is power, but in Everybody Knows, nobody's quite certain about the whole truth.‐ indieWire
Read More | Posted May 9, 2018
B No Score Yet Birds of Passage (1998) Even as Birds of Passage fetishizes its dreary mood, it excels at tracking the gradual impact of crime across generations less invested in playing by ancient rules.‐ indieWire
Read More | Posted May 9, 2018
B- 82% Rafiki (2018) Muatsia, with her tough gaze and somber asides, maintains a credibility that rescues the movie from cliché. By telling an old story of impossible love, Rafiki renews its purpose.‐ indieWire
Read More | Posted May 9, 2018
B 81% Sorry Angel (Plaire, aimer et courir vite) (2018) "Life is dumber than films," Jacques says, and Sorry Angel represents Honoré's own sturdy effort to improve that equation.‐ indieWire
Read More | Posted May 9, 2018
D+ 24% The Week Of (2018) After 85 minutes of mediocrity, The Week Of finally lands on one inspired bit, and then there's another half hour to go. ‐ indieWire
Read More | Posted Apr 27, 2018
B 83% Avengers: Infinity War (2018) Even as the movie forces audiences to submit to so many cataclysmic events, the directors manage to direct the cascading mayhem to a unique kind of cliffhanger.‐ indieWire
Read More | Posted Apr 24, 2018
B+ 76% The Night Eats the World (La nuit a dévoré le monde) (2018) Even as the story drifts off, Night Eats the World derives its power from a beguiling, provocative implication: It's hard to confront a hostile world, but gathering the courage to do so doesn't make the job any easier.‐ indieWire
Read More | Posted Apr 23, 2018
B No Score Yet The Bleeding Edge (2018) The Bleeding Edge stands a good chance at enlightening more people who have been (or might be) hoodwinked.‐ indieWire
Read More | Posted Apr 23, 2018
B+ 63% Beyond the Clouds (2018) Heartrending one minute and heavy-handed the next, Beyond the Clouds is in equal parts beautiful and frustrating.‐ indieWire
Read More | Posted Apr 20, 2018
C 31% Super Troopers 2 (2018) At a moment when the image of crude police officers shirking their responsibilities is especially loaded in American culture, "Super Troopers 2" suffers a fate worse than ineptitude; it's tone deaf.‐ indieWire
Read More | Posted Apr 16, 2018
C+ 71% Mercury (2018) Mercury may be remembered as the first silent thriller in Indian cinema, but it's far from the heart-stopper we're looking for.‐ indieWire
Read More | Posted Apr 12, 2018
B+ 100% Mercury 13 (2018) An engaging blend of modern-day interviews and archival footage, Mercury 13 complicates the traditional narrative of triumph surrounding the Mercury missions of the '60s and their culmination with the moon landing. ‐ indieWire
Read More | Posted Apr 9, 2018
B+ 95% Sweet Country (2018) While Sweet Country snakes along to an inevitable outcome, Thornton retains a sharp control over the movie's ravishing visuals, assembling them with a rhythmic quality that transcends any specific time and place. ‐ indieWire
Read More | Posted Apr 5, 2018
B No Score Yet March of the Penguins 2: The Next Step (L'empereur) (2018) The March of the Penguins story could continue indefinitely, but only if the penguins survive long enough to keep the franchise alive.‐ indieWire
Read More | Posted Mar 22, 2018
C+ No Score Yet Family (2018) Family is funny in bits and pieces, but so obvious in terms of its eventual direction that it might have been better served by less plot and more clowning around. ‐ indieWire
Read More | Posted Mar 15, 2018
B+ 100% Thunder Road (2018) Thunder Road lands on a tragic development, but upends it with a single teary-eyed moment that hints - with no real evidence - that better things may be around the corner. ‐ indieWire
Read More | Posted Mar 14, 2018
B 52% Boundaries (2018) Boundaries breaks no fresh ground and sags into conventional story beats on autopilot, but it's rewarding enough to hang with these characters and roll with their mudslinging.‐ indieWire
Read More | Posted Mar 13, 2018
A- 83% Relaxer (2018) Relaxer forces viewers to engage with its off-kilter frequency, and risks pushing the material too far with a final time jump.‐ indieWire
Read More | Posted Mar 12, 2018
B 57% Unfriended: Dark Web (2018) It looks less like innovation than laziness, but at least Unfriended: Dark Web has a potent theme: The internet always has the upper hand, and it's not interested in happy endings.‐ indieWire
Read More | Posted Mar 12, 2018
C+ 85% Upgrade (2018) One wishes that some of the inventiveness of its set pieces and throwaway flourishes could've made their way into the main narrative, which is a too-familiar drag.‐ indieWire
Read More | Posted Mar 12, 2018
C 33% The Legacy of a Whitetail Deer Hunter (2018) There are some real missed opportunities here. ‐ indieWire
Read More | Posted Mar 12, 2018
B 86% Fast Color (2018) It's not a superhero movie by any standard definition, but Ruth's journey is a heroic one all the same.‐ indieWire
Read More | Posted Mar 12, 2018
B+ 73% Ready Player One (2018) Eventually, "Ready Player One" becomes the very thing its characters admire, a preponderance of commercial entertainment smashed together into a singularity of blockbuster chaos.‐ indieWire
Read More | Posted Mar 12, 2018
B 83% Blockers (2018) Cannon's first feature stands out because the genre has so rarely received a woman's touch, and it's evident in the way the movie pokes fun at masculinity by making it irrelevant.‐ indieWire
Read More | Posted Mar 11, 2018
B+ 95% A Quiet Place (2018) Directed with first-rate visual flair by John Krasinski (who knew?), this riveting near-silent thriller exudes the despair of a broken world with the concision of a Cormac McCarthy novel folded into a simplistic B-movie premise.‐ indieWire
Read More | Posted Mar 10, 2018
B- 61% They Remain (2018) It's an engrossing exercise in boiling familiar ingredients down to pure, unbridled creepiness.‐ indieWire
Read More | Posted Feb 28, 2018
B- 42% Mary Magdalene (2018) Mary Magdalene only snaps into focus as narrative when we get to Jerusalem, chiefly because it gives these kids something to physically rail against - moneylenders, Judas kisses, Romans, and all. It's a little on the late side, though.‐ indieWire
Read More | Posted Feb 27, 2018
B- 15% Mute (2018) Jones is clearly striving to develop something fresh out of well-trodden material, and Mute at least exhumes Jones' stature as a notable auteur.‐ indieWire
Read More | Posted Feb 23, 2018
B 80% Unsane (2018) In short, it could never be anything but a Soderbergh film, and a particularly delicious one at that.‐ indieWire
Read More | Posted Feb 21, 2018
A- 87% Annihilation (2018) A timely ecological thriller that wouldn't look out of place in Larry Fessenden's oeuvre, the movie probes the interplay of beauty and terror inherent to all natural processes beyond humanity's control with a measured gaze.‐ indieWire
Read More | Posted Feb 21, 2018