Maitland McDonagh
Select another critic »
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 5.2 points lower than other critics. (0-100 point scale)

Maitland McDonagh's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Devil in a Blue Dress
Lowest review score: 0 Terror Firmer
Score distribution:
2,229 movie reviews
    • 78 Metascore
    • 75 Maitland McDonagh
    28 Weeks Later is flawed -- the constant reappearance of one key character verges on the absurd -- but it knows where it's going, and it gets there in a chilling blaze of fire, blood and poisonous fog.
    • 73 Metascore
    • 75 Maitland McDonagh
    Gypsy music is the music of pain, poverty and oppression, all of which she's experienced; it's their blues.
    • 60 Metascore
    • 75 Maitland McDonagh
    Steeped in what may be the ultimate postmodern irony: Talen's impromptu, defiant piece of performance art with political undertones has actually taken on a spiritual dimension.
    • 44 Metascore
    • 75 Maitland McDonagh
    Delivers equal parts overwrought tedium and mind-bending beauty, spiked with brilliant throwaway images that more than make up for Kelly's heavy-handed hot-button pretensions.
    • 65 Metascore
    • 75 Maitland McDonagh
    The overall effect is either exhilarating or exhausting, depending on your emotional investment in the franchise, but credit where credit is due: Steven Spielberg and George Lucas set out to make one for the fans and delivered.
    • 69 Metascore
    • 75 Maitland McDonagh
    For all her own frustrations, Davenport is honest enough not to gloss over the fact that what Muthana's adventures in the screen trade taught him was to hustle, toady and ingratiate himself to useful people. And she helped.
    • 74 Metascore
    • 75 Maitland McDonagh
    It's vivid evidence that great music and stories transcend time and place.
    • 70 Metascore
    • 75 Maitland McDonagh
    The movie opens with the dismal statistic that most teachers quit after three years. Akel and Mass see the humor in the situation, but the laughs are small and sad.
    • 71 Metascore
    • 75 Maitland McDonagh
    Say what you will about feel-good films anchored by feisty old broads, the English have a knack with them and Stephen Frears' fact-based tale of a formidable, aristocratic widow who makes it her mission to put naked girls on the London stage is delightful.
    • 76 Metascore
    • 75 Maitland McDonagh
    The cast deliver consistently fine, subtle performances, underscored by Ben Nichols' mournfully melodic guitar score.
    • 67 Metascore
    • 75 Maitland McDonagh
    Foster finds the common ground on which his eclectic cast can meet (no small feat when they range from brassy Queen Latifah to "Arrested Development"'s deadpan Tony Hale) and keeps the story's sweetness from devolving into saccharine kitsch.
    • 60 Metascore
    • 75 Maitland McDonagh
    Until the disappointingly conventional ending, in which dad and the head baddie go it mano a mano on the streets, this dark drama -- based on a 1956 Glenn Ford picture of the same name -- negotiates its narrative twists and turns with professional aplomb, even daring to make the hero an arrogant schmuck.
    • 82 Metascore
    • 75 Maitland McDonagh
    An unabashed call to action that shines a spotlight on a problem whose intimate medical nature relegated it to the shadows.
    • 77 Metascore
    • 75 Maitland McDonagh
    Resnais cuts constantly between the various narrative threads, signaling each change of scene with a superimposed shower of snowflakes; it's a highly artificial device, and a deceptively lovely one that reinforces the sense that all Ayckbourn's characters are slowly succumbing to an emotional chill.
    • 64 Metascore
    • 75 Maitland McDonagh
    Although the film revolves around a child, it's not a children's movie: A cruel and bitter undertone runs through the fanciful adventures, and Walker's depression is no mere plot contrivance to be cured by Alexandria's childish enthusiasm.
    • 68 Metascore
    • 75 Maitland McDonagh
    Veers regularly into disease-of-the-week territory but is rescued by the powerhouse performances of Ken Watanabe (who was instrumental in getting the film made) and Kanako Higuchi.
    • 73 Metascore
    • 75 Maitland McDonagh
    Beautifully animated, the celebrity voice performances are terrific, and the action sequences negotiate the fine line between being physically convincing and becoming too intense for the young children.
    • 72 Metascore
    • 75 Maitland McDonagh
    Thalbach's passionate performance is the film's center, but she's aided by a strong supporting cast, Jarre's propulsive score and the gritty locations: It was shot at the very shipyard where real-life history was made.
    • 64 Metascore
    • 75 Maitland McDonagh
    The mockumentary conceit gives a vivid immediacy to the material, and the PAL digital video cinematography is often surprisingly lyrical -- certain shots of empty, fog-shrouded San Francisco sites more than make up in eeriness what they lack in special-effects decrepitude.
    • 69 Metascore
    • 75 Maitland McDonagh
    The defendants – especially Hoffman and Rubin – baited elderly Judge Julius J. Hoffman, who never failed to take the bait; Seale was so obstreperous that Hoffman had him gagged and bound to a chair, another indelible image.
    • 53 Metascore
    • 75 Maitland McDonagh
    Bendinger pulls out all the stops visually, using bold set design, frantic editing, extreme angles and computer image multiplying that turns what begins as a Busby Berkeley exercise in synchronized movement into a kaleidoscopic infinity of handsprings and back flips.
    • 60 Metascore
    • 75 Maitland McDonagh
    If there's a gay cliche who doesn't flounce through this feel-good German comedy, he must have been out of town when the casting call went out, but its fundamental good nature is tough to resist.
    • 60 Metascore
    • 75 Maitland McDonagh
    Sweet, goofy story.
    • 54 Metascore
    • 75 Maitland McDonagh
    Like "Secret Things," the film is ultimately infuriating, subtle, self-indulgent, astute and disingenuous, which makes for great -- if divisive -- conversation.
    • 74 Metascore
    • 75 Maitland McDonagh
    The filmmakers know the tropes of spooky movies: Glowering shadows, squeaking playground equipment, eerie storms and half-glimpsed forms, but the film rests on Rueda's subtle, intense performance, rooted in every half-articulated anxiety that ever gnawed at a parent's brain.
    • 63 Metascore
    • 75 Maitland McDonagh
    A throwback to an age when action movies had room between shoot-outs and car chases for dialogue - real dialogue, not rim-shot-ready one-liners - and character development.
    • 52 Metascore
    • 75 Maitland McDonagh
    Negret brings personal experience to the material; his own family endured two ordeals by kidnapping, and he works up a painfull convincing sense of sweaty desperation.
    • 75 Metascore
    • 75 Maitland McDonagh
    A small slice of a suspended life, intimate and filled with the mundane details most people forget when the waiting is over and their real lives begin.
    • 49 Metascore
    • 75 Maitland McDonagh
    It's funny without being toothless, adrenaline turbocharged without being mean and utterly deranged in the best sense of the word.
    • 66 Metascore
    • 75 Maitland McDonagh
    Solomonoff cuts back and forth between 1984 and 1976, gradually revealing the truth of what happened, but the mystery is less important than the complex relationship between Natalia and Elena, which was sorely tested by events beyond their control.

Top Trailers