Maitland McDonagh

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For 2,230 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 6.8 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Blood Tea and Red String
Lowest review score: 0 Terror Firmer
Score distribution:
2230 movie reviews
    • 38 Metascore
    • 30 Maitland McDonagh
    A misfire of spectacular proportions.
    • 38 Metascore
    • 38 Maitland McDonagh
    Rip Torn, Linda Hunt and Jerry O'Connell mark time in minor supporting roles.
    • 38 Metascore
    • 38 Maitland McDonagh
    Proof that the US has no monopoly on white-trash humor.
    • 38 Metascore
    • 30 Maitland McDonagh
    There's nothing beneath the flashy editing and self-consciously cool production design but a soulless adrenaline machine that's never scary and rarely engrossing.
    • 38 Metascore
    • 38 Maitland McDonagh
    Tedious and obscure where it was apparently meant to be atmospheric and tantalizing.
    • 37 Metascore
    • 30 Maitland McDonagh
    Hong Kong action pioneer Tsui Hark is in high form here, tricking out the bare-bones story with disorienting camera angles, trick photography and virtuoso action sequences.
    • 37 Metascore
    • 20 Maitland McDonagh
    Formulaic hodge-podge that trades on a certain demographic's affection for the bogeymen of their formative years.
    • 37 Metascore
    • 30 Maitland McDonagh
    The sweet nostalgia of Travolta and Thurman's reprise of their "Pulp FIiction" dance-floor flirtation cuts through a lot of rubbish, including the Black Eyed Peas' smutty "Sexy."
    • 37 Metascore
    • 30 Maitland McDonagh
    Hogan returns with what feels like a feature-length vanity project.
    • 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.
    • 37 Metascore
    • 25 Maitland McDonagh
    A crass, tedious sequel.
    • 37 Metascore
    • 25 Maitland McDonagh
    No matter how you parse it, the film is a bizarre muddle.
    • 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.
    • 37 Metascore
    • 20 Maitland McDonagh
    Cynical and contemptuous of its audience, this lazy sequel oozes an insufferable air of self-satisfaction.
    • 36 Metascore
    • 30 Maitland McDonagh
    Even by the debased standards of preachy sports movies aimed at kids, this is pabulum.
    • 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.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's hard to know who bears the brunt of the blame for The Eye's stunning dullness.
    • 36 Metascore
    • 25 Maitland McDonagh
    Even Mo'Nique's outsize presence isn't enough to make ancient gags about stuck-up popular girls or about voluptuous vultures clearing a whole buffet table in one fell swoop funny.
    • 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.
    • 36 Metascore
    • 30 Maitland McDonagh
    Soulless, sleekly executed product.
    • 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.
    • 36 Metascore
    • 25 Maitland McDonagh
    The film is preposterous on so many counts that it's hard to enumerate them.
    • 36 Metascore
    • 30 Maitland McDonagh
    Yet another of Israeli-born filmmaker Amos Kolleck's pointless, meandering tales of eccentric New Yorkers navigating the treacherous waters of love and survival.
    • 36 Metascore
    • 25 Maitland McDonagh
    Lawrence runs through his usual repertory of mugging, seething and generally acting like a fool, only to be regularly upstaged by Arnold, Trey's pet piglet.
    • 36 Metascore
    • 38 Maitland McDonagh
    It's all mean-spirited, foulmouthed sniping.
    • 36 Metascore
    • 25 Maitland McDonagh
    A textbook illustration of the American movie industry's ability to take an offbeat foreign film and systematically alter or soften every provocative and original thing about it.
    • 35 Metascore
    • 20 Maitland McDonagh
    Even by the degraded standards of dim-witted summer blockbusters, this is sorry stuff.
    • 35 Metascore
    • 38 Maitland McDonagh
    Marvel-man Mark Steven Johnson, who wrote and directed "Daredevil" (2003) and scripted "Elektra" (2005), continues to demonstrate the wrong way to make comic book movies: Make sure special effects overwhelm the characters, let campy mannerisms go unchecked and be sure dialogue is declaimed rather than spoken.
    • 34 Metascore
    • 30 Maitland McDonagh
    Without Bullock, the film's frantic antics would be painful to watch; with her, they're just trivial.
    • 34 Metascore
    • 38 Maitland McDonagh
    M. Night Shyamalan's sixth film mines a rich lode of end-of-the-world-as-we-know-it clichés, but while the set up is spooky, the development is heavy handed and marred by Shyamalan's inability to write natural-sounding dialogue or convincing characters.

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