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 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 King Kong
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 82 Metascore
    • 75 Maitland McDonagh
    Though O'Toole, whose ruined beauty Michell emphasizes in frequent and tight close-ups, and newcomer Whittaker have a striking rapport, the film's most haunting moments pair him with Vanessa Redgrave -- amazingly, this is their first movie together -- as his ex-wife. They evoke a lifetime of love, betrayal, regret and forgiveness in the space of a few lines, then move on without missing a beat.
    • 63 Metascore
    • 75 Maitland McDonagh
    A deep and astonishingly authentic streak of melancholy runs through this fifth sequel to the 1976 sleeper that made both struggling actor Sylvester Stallone and hard-luck slugger Rocky Balboa international stars.
    • 53 Metascore
    • 75 Maitland McDonagh
    "Charlie's Angels" director Joseph McGinty Nichol (aka McG) shows surprising restraint with this emotionally freighted material, weighting the movie heavily towards relationships.
    • 84 Metascore
    • 75 Maitland McDonagh
    The screenplay, which differs significantly from the novel, is uneven, but the distorted mirror it holds up to the present is disturbingly clear.
    • 73 Metascore
    • 75 Maitland McDonagh
    Though at heart a tightly-wound, bitterly bleak comedy of manners, Eyre's film is less funny than brilliantly squirm-inducing, a dissection of bad behavior via rapier-sharp dialogue.
    • 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
    A delirious fever dream of pulp-western conventions by way of 1950s Hollywood melodrama, Thai filmmaker Wisit Sasanatieng surreal oddity unfolds in heavily manipulated colors so rich they seem ready to leap off the screen, punctuated by spasms of over-ripe dialogue, floridly dramatic songs and maniacal villainous laughter.
    • 70 Metascore
    • 75 Maitland McDonagh
    Unlike most mainstream filmmakers, Ratnam doesn't try to include something for everyone, but he does deliver several handsome production numbers.
    • 45 Metascore
    • 75 Maitland McDonagh
    For rip-snorting pop entertainment, it's one discomfiting, nasty piece of work, and ain't that a kick in the head.
    • 76 Metascore
    • 75 Maitland McDonagh
    Opening with the Mohandas Gandhi epigram "An eye for an eye makes the whole world blind," it humanizes the bombers without excusing their actions.
    • 77 Metascore
    • 75 Maitland McDonagh
    The twists and turns continue until the very end of Choi's mesmerizing, high-energy romp, whose 139 minutes zip by like a round of speed poker.
    • 47 Metascore
    • 75 Maitland McDonagh
    It's not earthshaking or life-changing, but it's cute, occasionally predictable and only requires ACTUAL idiots, like Barry, to act like idiots. As formula entertainment goes, that's a pretty sweet deal.
    • 74 Metascore
    • 75 Maitland McDonagh
    Phillippe has the unenviable task of trying to make O'Neill equally interesting, but an eager beaver with some unresolved family issues is no match for a poisoned soul methodically laying the groundwork for his own inevitable fall. The unfortunate imbalance makes long stretches of the film feel dull, but when Cooper is on screen it's mesmerizing.
    • 64 Metascore
    • 75 Maitland McDonagh
    Thompson's stories are familiar, but she weaves them together with such assurance and good humor that they're equally soothing and thoroughly enjoyable.
    • 65 Metascore
    • 75 Maitland McDonagh
    A workmanlike piece of storytelling elevated by fine performances.
    • 73 Metascore
    • 75 Maitland McDonagh
    The person who can resist a formerly homeless senior citizen gradually restored to sufficient stability to the degree that he can take in his own "castaway cat" is hard-hearted indeed.
    • 51 Metascore
    • 75 Maitland McDonagh
    300
    It may not be by-the-book history -- a relative term in any event, when discussing the ancients whose worldview embraced men, gods and monsters -- but what a spectacle!
    • 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.
    • 53 Metascore
    • 75 Maitland McDonagh
    Wahlberg acquits himself well, and the supporting cast -- which includes pioneering rocker Levon Helm in a scene-stealing cameo as an aging gun buff who knows a thing or two about cover-ups, Ned Beatty as a corrupt politician, and a Strangelovian Rade Serbedzija -- is so strong you almost wish the film were longer so they could have more screen time.
    • 72 Metascore
    • 75 Maitland McDonagh
    Without their efforts, ordinary moviegoers would never know that air-guitar competitors must craft a series of one-minute routines, some to songs they've only just heard, or that their efforts are judged on the 4.0 to 6.0 scale used to rank competitive figure skaters. Important to know? No. Fascinating? Absolutely.
    • 56 Metascore
    • 75 Maitland McDonagh
    Shrewder than you'd think and not half as dumb as it looks.
    • 55 Metascore
    • 75 Maitland McDonagh
    Linear storytelling was never Herzog's strong suit even under the best of conditions. His strength lies in capturing lucid lunacy on film, and Manoel da Silva's descent into the jaws of madness is a straight shot into the heart of darkness, a place familiar to both Herzog and Kinski.
    • 74 Metascore
    • 75 Maitland McDonagh
    It's vivid evidence that great music and stories transcend time and place.
    • 77 Metascore
    • 75 Maitland McDonagh
    Overall, Grindhouse may well be the Beatlemania of sleaze-movie viewing, but since the real thing is gone it's the best that many fans will ever have.
    • 70 Metascore
    • 75 Maitland McDonagh
    Seeks to set the record straight. But Gere's sneaky, ingratiating presence keeps it dishonest to the last frame.
    • 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.
    • 68 Metascore
    • 75 Maitland McDonagh
    The best thing about Fracture is the way in which it defies genre cliches and turns all Hopkins' mannerisms into assets.
    • 59 Metascore
    • 75 Maitland McDonagh
    Raimi and company deftly balance spectacle and character-based drama, occasionally tweaking the comic-book mythology but always respecting creator Stan Lee's idea that costumed crime-fighter Peter Parker's life as Spider-Man isn't all derring-do and public accolades.
    • 54 Metascore
    • 75 Maitland McDonagh
    Sigourney Weaver and Alan Rickman imbue screenwriter Angela Pell's characters with a quiet authenticity that's surprisingly moving.
    • 75 Metascore
    • 75 Maitland McDonagh
    This sly, subtle and very French psychological drama dissects the relationship between three insecure Sorbonne students and their deeply flawed idol.

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