Maitland McDonagh
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For 2,229 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.9 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Pan's Labyrinth
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
2,229 movie reviews
    • 27 Metascore
    • 38 Maitland McDonagh
    If the characters were more interesting, the long, long buildup to their night of ghostly reckoning might be suspenseful rather than tedious.
    • 34 Metascore
    • 38 Maitland McDonagh
    Like Doom itself, the movie is rich in backstory, but sparse in actual story.
    • 62 Metascore
    • 38 Maitland McDonagh
    The willowy Danes' rich, melancholy characterization is sown in a barren field of snippy attitude and too-cool posturing, and the film's disingenuous air of bittersweet chic becomes deeply tiresome long before it's over.
    • 51 Metascore
    • 38 Maitland McDonagh
    Watts is good -- occasionally very good -- and her willingness to be filmed at unflattering angles, in pore-wallowing or with bright blue ice cream smeared on her face is admirable.
    • 31 Metascore
    • 38 Maitland McDonagh
    Black comedy requires perfect pitch: Pedro Almodovar has it and cowriters/directors Michalis Reppas and Thanasis Papathanasiou don't, at least by the evidence of this film.
    • 31 Metascore
    • 38 Maitland McDonagh
    That the 27-year-old Usher isn't much of an actor is no surprise, but he's strikingly uncharismatic for someone who's been in the spotlight since he was six.
    • 47 Metascore
    • 38 Maitland McDonagh
    Ironically, Faris' Samantha is the most convincing personality in the mix: She's a grotesque caricature of Courtney Love by way of Nancy Spungen, a vulgar, selfish monster of unbridled id, but you always know where she's coming from.
    • 38 Metascore
    • 38 Maitland McDonagh
    Rip Torn, Linda Hunt and Jerry O'Connell mark time in minor supporting roles.
    • 36 Metascore
    • 38 Maitland McDonagh
    This live-action cartoon tries to walk the line between pleasing the faithful and appealing to a broad-based action audience. It fails on both fronts: It's too lifeless and watered-down to stand on its own high heels, but commits the cardinal sin of messing with the original.
    • 45 Metascore
    • 38 Maitland McDonagh
    The charismatic Rajskub, who played a prickly computer geek on TV's "24," has nothing to do as Jack's loyal secretary.
    • 56 Metascore
    • 38 Maitland McDonagh
    Though Keaton is convincing as a smarmy narcissist who secretly thinks he deserves to fail because writing plays isn't REAL work, he's also thoroughly unlikable -- a problematic trait in a protagonist.
    • 33 Metascore
    • 38 Maitland McDonagh
    It's by no stretch of the imagination a good film, but it delivers what it promises: naked girls whaling on each other, flesh-ripping zombies and genre stalwart Todd growling and glowering satanically from beneath a mane of dreadlocks - the He-Who-Kills teeth are a nice touch.
    • 26 Metascore
    • 38 Maitland McDonagh
    For all the sex and slicing, the most shocking thing about it is how dreary it is.
    • 25 Metascore
    • 38 Maitland McDonagh
    This formulaic mess of sports-movie cliches and self-esteem claptrap contains a couple of funny bits, but you have to slog through a lot of done-to-death bodily function jokes to get to them.
    • 46 Metascore
    • 38 Maitland McDonagh
    To call the film noisy and brainless isn't even a criticism - it's unadulterated auto-porn, as shallow and shiny as it wants to be.
    • 52 Metascore
    • 38 Maitland McDonagh
    It's a one-gag film that rises or falls on how funny you find the sight of fat, grease-slicked Jack Black crammed into spandex pants and capering like an epileptic lamb.
    • 37 Metascore
    • 38 Maitland McDonagh
    Welsh-born actor Roger Rees bares body and soul in director/cowriter Eric Werthman's handsomely photographed examination of the dynamic that unites a masochist and the sex worker who caters to his desires.
    • 32 Metascore
    • 38 Maitland McDonagh
    First-time writer-director Robert Edwards is nothing if not ambitious, attempting to encapsulate the history of totalitarian oppression and misguided revolutionary zeal into a broad, blunt, black comedy.
    • 36 Metascore
    • 38 Maitland McDonagh
    The result is a soggy swamp of nyah-nyah-nyah-nyah-nyahing, its only grace notes are Giamatti's fine, nuanced performance as Heep and Christopher Doyle's handsome cinematography.
    • 30 Metascore
    • 38 Maitland McDonagh
    Though Verow attended the American Film Institute and has made more than a dozen shorts and features since 1994, his low-budget gay-themed films are characterized by phenomenal indifference to framing, sound quality and performance. If his relentless amateurishness is deliberate, it's self-defeating; if not, it's inexplicable: Most people who do anything for more than a decade get better at it.
    • 30 Metascore
    • 38 Maitland McDonagh
    Astonishingly inept drama.
    • 36 Metascore
    • 38 Maitland McDonagh
    There may be a way to remake 1973's cult thriller The Wicker Man, in which a deeply Christian cop has his religious convictions shaken to the core as he investigates the disappearance of a child from within a cheerfully pagan community, but Neil LaBute didn't find it.
    • 49 Metascore
    • 38 Maitland McDonagh
    A ludicrous mishmash undermined by ghastly performances and a hopelessly convoluted screenplay.
    • 37 Metascore
    • 38 Maitland McDonagh
    There's less than meets the eye to writer-director Flowers' time-hopping narrative, and what could have been a routine but entertaining crime story gets hopelessly muddled in its telling, despite the efforts of a generally strong cast.
    • 43 Metascore
    • 38 Maitland McDonagh
    John Gulager's directing debut is horror at its most reductive and least resonant.
    • 44 Metascore
    • 38 Maitland McDonagh
    For all its crudeness, Phillips' tale of men behaving badly is remarkably toothless.
    • 29 Metascore
    • 38 Maitland McDonagh
    Who will survive and what will be left of them? If you don't have a pretty good idea, this is not the movie for you. If you do, rest assured you've seen it all before.
    • 18 Metascore
    • 38 Maitland McDonagh
    This trashy, overwrought thriller gets itself worked up into a fine, sleazy lather that recalls the matricidal glories "Die! Die! My Darling!" and "You'll Like My Mother", then wimps out at the end.
    • 38 Metascore
    • 38 Maitland McDonagh
    Tedious and obscure where it was apparently meant to be atmospheric and tantalizing.
    • 33 Metascore
    • 38 Maitland McDonagh
    The film pulls off a couple of "gotchas!", but the subtle creepiness of its predecessors is gone, replaced by a sense of numbing predictability.