Maitland McDonagh

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For 2,231 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 7.4 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Devil in a Blue Dress
Lowest review score: 0 Terror Firmer
Score distribution:
2231 movie reviews
    • 34 Metascore
    • 30 Maitland McDonagh
    Without Bullock, the film's frantic antics would be painful to watch; with her, they're just trivial.
    • 42 Metascore
    • 30 Maitland McDonagh
    The movie takes a desperately wrong turn about 45 minutes in, and you can almost hear the great sucking sound as the whole thing churns down the drain in a swirl of narrative contradictions.
    • 33 Metascore
    • 30 Maitland McDonagh
    Harlin's brisk pacing leaves little time for reflection, but the whole house of blood-spattered cards dissolves upon even cursory reflection.
    • 56 Metascore
    • 30 Maitland McDonagh
    If not precisely charismatic, Statham brings authentic athleticism and a certain cheeky presence to his lightly written role.
    • 43 Metascore
    • 30 Maitland McDonagh
    These lessons are driven home via silly dialogue ("Her name was Marion and she loved volcanoes...") and painfully predictable plot complications, repeated often enough that there's no need to take notes, except for the benefit of friends who fall asleep.
    • 45 Metascore
    • 30 Maitland McDonagh
    The heart of the problem may be that real life youth-sports insanity has far exceeded the bounds of family-friendly comedy.
    • 30 Metascore
    • 30 Maitland McDonagh
    Anemic chronicle of money grubbing New Yorkers and their serial loveless hook ups.
    • 11 Metascore
    • 30 Maitland McDonagh
    This picture is just shapeless and shrill. It's disposable, forgettable and aimed at an audience that doesn't care.
    • 29 Metascore
    • 30 Maitland McDonagh
    The film's subtexts are profoundly reactionary. Women are foolish and untrustworthy.
    • 40 Metascore
    • 30 Maitland McDonagh
    A convoluted exercise in shifting perspectives and fractured storytelling.
    • 17 Metascore
    • 30 Maitland McDonagh
    The dramatic scenes are frequently unintentionally funny, and the action sequences -- clearly the main event -- are surprisingly uninvolving, especially given that director Christian Duguay is an extreme skiing buff who habitually shoots dangerous stunts himself.
    • 41 Metascore
    • 30 Maitland McDonagh
    Self-indulgent wallow in privileged malaise.
    • 24 Metascore
    • 30 Maitland McDonagh
    This is a terrible movie in its own right, tasteless and condescending -- if Sandler's character is an Everyman, than the Everyman of today is a boorish jackass
    • 33 Metascore
    • 30 Maitland McDonagh
    Boyar's best efforts -- which are quite good -- can't begin to compensate for Guttenberg's grotesque excesses or make the weirdly warm relationship that develops between them convincing, let alone appealing.
    • 16 Metascore
    • 30 Maitland McDonagh
    There's a germ of an interesting idea here, but it's smothered by gloomy cinematography a la "Seven" (1995) and grating implausibilities, like the fact that everyone lives in the kind of cavernous, dankly art-directed dumps that only internet millionaires and trust fund twinkies can afford in the real New York.
    • 24 Metascore
    • 30 Maitland McDonagh
    This mean-spirited invisible man movie tries to hide its poverty of fresh ideas behind a load of state-of-the-art special effects.
    • 17 Metascore
    • 25 Maitland McDonagh
    Hippolyte subsequently reinvented himself first as a director of baroque erotic thrillers and then as music-video maestro to pop tarts like Britney Spears, but stalk-and-slash horror -- for all its porn-movie rhythms -- appears to have defeated him.
    • 24 Metascore
    • 25 Maitland McDonagh
    A morose, slow-moving action picture.
    • 44 Metascore
    • 25 Maitland McDonagh
    A painfully self-conscious comedy that mistakes relentless self-referentiality for cleverness, this half-witted misfire is filled with accelerated motion, repeated and overlapping scenes, direct address to the camera and other cliches of defamiliarization.
    • 40 Metascore
    • 25 Maitland McDonagh
    Buono is truly charming, and the film delivers a handful of genuine laughs -- low laughs, but laughs nonetheless; if only they weren't so few and far between.
    • 25 Metascore
    • 25 Maitland McDonagh
    Ritchie wraps this folderol in cinematic razzle-dazzle, including animated sequences, reverse motion, trompe l'oeil production design and tricky lighting. But it's still claptrap.
    • 64 Metascore
    • 25 Maitland McDonagh
    Played for Maverick-like comedy, the film might have coasted on Harris and Mortensen's dialogue. But played straight it's both dull and preposterous.
    • 27 Metascore
    • 25 Maitland McDonagh
    So consistently, outrageously wrongheaded in every way it's hard to know where to start.
    • 15 Metascore
    • 25 Maitland McDonagh
    Lazy, superficially au courant and utterly forgettable.
    • 42 Metascore
    • 25 Maitland McDonagh
    Rob Reiner's feel-good tear-jerker, in which dying well is the best revenge, wants to be heartwarming. But first-timer Justin Zackham's screenplay is so stridently formulaic and disingenuous that the film falls flat at every inspirational turn.
    • 29 Metascore
    • 25 Maitland McDonagh
    The script's vague, silly "explanation" for Linda's experiences -- nature abhors a spiritual vacuum, so weird stuff happens to the faithless -- is the icing on the irritation cake.
    • 36 Metascore
    • 25 Maitland McDonagh
    The film is preposterous on so many counts that it's hard to enumerate them.
    • 25 Metascore
    • 25 Maitland McDonagh
    Shot as "Backwater" and test-screened as "The Reaper," this film contains a couple of bracingly mean sequences, but it cleaves so closely to the slasher-movie formula that it can't muster up any suspense at all.
    • 24 Metascore
    • 25 Maitland McDonagh
    The lesson is that money can buy a vanity project, but it can't buy talent, imagination or an audience.
    • 17 Metascore
    • 25 Maitland McDonagh
    A preposterous misfire.

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