John P. McCarthy

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For 53 reviews, this critic has graded:
  • 22% higher than the average critic
  • 3% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 10.6 points lower than other critics. (0-100 point scale)

John P. McCarthy's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 80 Alamar (To the Sea)
Lowest review score: 10 Footprints
Score distribution:
  1. Positive: 14 out of 53
  2. Negative: 7 out of 53
53 movie reviews
    • 51 Metascore
    • 50 John P. McCarthy
    Not quite the yuk-fest one was hoping for or as perversely alienating as "Observe and Report," Due Date shares the schizophrenic quality, though not the numbing length, of another Seth Rogen movie, "Funny People."
    • 56 Metascore
    • 50 John P. McCarthy
    Even given narrative license, South African-born screenwriter Ann Peacock has trouble cobbling together a truly compelling plot that deals with Kenyan history, including tribalism, in a detailed way.
    • 54 Metascore
    • 40 John P. McCarthy
    With a premise better suited to comedy than drama, The Freebie is more somber and less stimulating than expected.
    • 39 Metascore
    • 40 John P. McCarthy
    Trapped inside the German film Vincent Wants to Sea there's an affecting father-son drama, an amusing road movie, a quirky romantic comedy and a non-patronizing take on mental illness. What we actually get - a homogenized movie-of-the-week set against the Alps and punctuated by anodyne English-language pop songs - brought out the cynic in me.
    • 60 Metascore
    • 40 John P. McCarthy
    Mr. Nice is hampered by tonal timidity and the inability to find a sufficiently entertaining through-line in Marks' life story.
    • 43 Metascore
    • 40 John P. McCarthy
    As flat as the Carolina coastal region in which it’s set, Dear John features two gorgeous young actors playing denuded characters in search of more narrative garb.
    • 69 Metascore
    • 40 John P. McCarthy
    Further exploration of this psychological question might have made for a more substantial, less enervating artfilm. One less liable to be experienced as an approximation of cinematic waterboarding.
    • tbd Metascore
    • 40 John P. McCarthy
    The profundity to tedium ratio is around 1 to 3. Not bad for a micro-release slated to screen seven times in a museum (NY's Rubin Museum of Art) but it's a film more interesting in theory than reality.
    • 65 Metascore
    • 40 John P. McCarthy
    A superficially provocative movie that tries way too hard to be memorable. Horror aficionados will be tantalized before walking away unsatisfied.
    • 61 Metascore
    • 40 John P. McCarthy
    The bright spot-and what saves Greenspan's debut feature from being nothing more than a long tedious draft of an ordinary craft brew-is James Liston's cinematography.
    • 56 Metascore
    • 40 John P. McCarthy
    While in many respects Spoken Word is adequately specific, it's still not very deep.
    • 46 Metascore
    • 40 John P. McCarthy
    Mercy can be described as a moody picture that traffics in variations of only one mood or sentiment: self-pity.
    • 37 Metascore
    • 40 John P. McCarthy
    This ho-hum offshoot of Megan McDonald's book series earns negative "thrill points" as it chronicles the mirthless backyard shenanigans of a suburban Pippi Longstocking.
    • 57 Metascore
    • 40 John P. McCarthy
    It has sufficient flavor to perform relatively well in markets with significant South Asian populations or amongst serious foodies who'll flock to anything remotely germane to their passion.
    • 70 Metascore
    • 40 John P. McCarthy
    Most of its truth (and any irony) is undercut by director Vikram Jayanti's fawning approach.
    • 31 Metascore
    • 40 John P. McCarthy
    An ultra-thin spliff, Cop Out never sparks, although knowing that in advance won’t deter moviegoers who believe pairing Morgan & Willis with Smith equals hilarity.
    • 26 Metascore
    • 30 John P. McCarthy
    All you need to know about this low-budget farce is that Amy Sedaris costars (yippee!) and New York pol Anthony Weiner would feel right at home with the sexting subplot (eeeuw!).
    • 33 Metascore
    • 30 John P. McCarthy
    The compellingly awful thriller, In My Sleep--in which Melrose Place meets imitation Hitchcock--is so unselfconsciously derivative that you have to admire it…or, if you don’t admire the movie itself, than admire the jejune chutzpah of writer-director-producer Allen Wolf.
    • 23 Metascore
    • 30 John P. McCarthy
    What's most memorable about this plodding thriller are the copious amounts of foundation and lip gloss.
    • 28 Metascore
    • 20 John P. McCarthy
    Kalamity is a real klunker.
    • 21 Metascore
    • 20 John P. McCarthy
    After this bomb, Katherine Heigl and Ashton Kutcher may qualify as two of the most attractive and prematurely washed-up screen actors Hollywood has ever produced.
    • 32 Metascore
    • 10 John P. McCarthy
    The barely coherent Footprints seems bent on erasing any nostalgia one might have for Hollywood's heyday.
    • 22 Metascore
    • 10 John P. McCarthy
    Starved of humor and energy, the interminable Big Mommas: Life Father, Like Son could force Lawrence and co-star Brandon T. Jackson undercover for real.

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