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 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 Zombie! vs. Mardi Gras
Score distribution:
2,229 movie reviews
    • 28 Metascore
    • 30 Maitland McDonagh
    The movie is simultaneously soft and icky; the gross-out effects are grafted onto a sub-"Tales from the Crypt" ghost story that never scares up any serious chills.
    • 56 Metascore
    • 30 Maitland McDonagh
    A leaden, tone-deaf remake of the 1955 Ealing comedy starring Alec Guinness, the Coen brothers' painfully unfunny rehash hinges on the duel of wits between five larcenous oddballs and one sweet but strong-willed old lady.
    • 28 Metascore
    • 30 Maitland McDonagh
    If it weren't all so cluelessly sleazy it might be funny.
    • 12 Metascore
    • 30 Maitland McDonagh
    This big-budget bore looks lovely but is so miscalculated that you can't help but wonder whether anyone involved had ever seen the original.
    • 24 Metascore
    • 30 Maitland McDonagh
    Despite its provocative premise, this throwback to deliberately paced, low-tech chillers of the pre-CGI era is a dreary slog through haunted-child movie cliches -- portentous dreams, glassy-eyed stares, cryptic pronouncements.
    • 28 Metascore
    • 30 Maitland McDonagh
    No better than the first.
    • 33 Metascore
    • 30 Maitland McDonagh
    The only serendipitous touch is the casting of New York's "quality of life" watchdog, Rudolph Giuliani, as himself.
    • 39 Metascore
    • 30 Maitland McDonagh
    Though once capable of writing distinct characters, Toback now populates his pictures with one-dimensional conceits who all talk like undereducated hustlers, from college professors to bottom feeders and international lions of business.
    • 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.
    • 42 Metascore
    • 30 Maitland McDonagh
    Most of the scenes fall flatter than a lead soufflé, and the film's sight gags -- Andy dumping campers' bodies by the roadside, Gene humping the refrigerator -- are outrageous without actually being funny.
    • 25 Metascore
    • 30 Maitland McDonagh
    Two idiots embark on a life of crime to help a deserving teenager attend Harvard in this lowbrow but generally sweet-natured comedy.
    • 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.
    • 49 Metascore
    • 30 Maitland McDonagh
    Films like this are the definition of "critic proof"; if the casting, synopsis and very concept don't deter you, you'll probably find it very funny.
    • 27 Metascore
    • 30 Maitland McDonagh
    Queen Latifah is a natural-born charmer, but there's only so much she can do when paired with a costar so irritating it's hard not to squirm when he's on the screen, which is most of the time.
    • 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
    • 38 Metascore
    • 30 Maitland McDonagh
    Why would anyone who wanted his or her film to be taken seriously saddle it with a cutesy title like this?
    • 25 Metascore
    • 30 Maitland McDonagh
    Pseudo sci-fi gobbledygook aside, X-Files alumni James Wong and Glen Morgan's script is little more than an excuse for Jet Li to kick his own ass, which he does energetically and often.
    • 21 Metascore
    • 30 Maitland McDonagh
    Maybe gross-out romantic comedy is a shallow well, and it was simply Rogers's misfortune to find himself with a bucket full of sludge.
    • 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.
    • 40 Metascore
    • 30 Maitland McDonagh
    A convoluted exercise in shifting perspectives and fractured storytelling.
    • 38 Metascore
    • 30 Maitland McDonagh
    This mean-spirited revenge story would once have starred Cole Hauser's father, veteran B-movie psycho Wings Hauser, and played grindhouses and drive-ins. And it would have been a far more entertaining picture.
    • 41 Metascore
    • 30 Maitland McDonagh
    Hard though this antic farce tries to be outrageous, its satirical jabs at American culture are obvious and juvenile, as is the use of Jimmy's plastic bubble as a goofy metaphor for fear of life.
    • 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.
    • 52 Metascore
    • 30 Maitland McDonagh
    Depending on your taste, either much hilarity or a tedious barrage of tasteless, juvenile pranking ensues. Trust your instincts.
    • 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.
    • 20 Metascore
    • 30 Maitland McDonagh
    Hardman is a grating, mannered onscreen presence, which is especially unfortunate in light of the fine work done by most of the rest of her cast.
    • 40 Metascore
    • 30 Maitland McDonagh
    Amateurish performances from nonprofessional actors undermine this ultra-low-budget crime drama.
    • 14 Metascore
    • 30 Maitland McDonagh
    Unfortunately, the mystery isn't mysterious and the characters are caricatures; the wintery New England landscape is the most striking thing about the film, but it's not interesting enough to justify watching it for 100 minutes.
    • 39 Metascore
    • 30 Maitland McDonagh
    Were the film's tone not so hysterical it might be provocative; as it is, insights and insults are inextricably intertwined.
    • 46 Metascore
    • 25 Maitland McDonagh
    Witless farce.
    • 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.
    • 9 Metascore
    • 25 Maitland McDonagh
    The lighting and makeup are exceptionally harsh; all the women look shockingly rough beneath their garish makeup.
    • 32 Metascore
    • 25 Maitland McDonagh
    The juvenile gags seem aimed at moviegoers who hate the whole idea of independent/art/foreign-language films and the stuck-up eggheads who like them -- so what's the point?
    • 37 Metascore
    • 25 Maitland McDonagh
    No matter how you parse it, the film is a bizarre muddle.
    • 18 Metascore
    • 25 Maitland McDonagh
    Why do moviegoers and gamers keep going to see video-game-based movies when neither group is ever happy with the results?
    • 18 Metascore
    • 25 Maitland McDonagh
    An all-but-incoherent mess whose main components are palpably fake-looking CGI effects, video-game-style action sequences and Milla Jovovich's admirably taut abdomen, Kurt Wimmer's film epitomizes just about everything wrong with post-MATRIX, comic book-/video-game-inspired, Hong Kong-action-style sci-fi thrillers.
    • 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.
    • 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.
    • 37 Metascore
    • 25 Maitland McDonagh
    A crass, tedious sequel.
    • 26 Metascore
    • 25 Maitland McDonagh
    One of the most dismal excuses for family entertainment ever perpetrated by a major studio, this crude, lazy variation on Disney's "Sky High" (2005) revolves around the education of four "special" youngsters at the hands of a washed-up superhero.
    • 19 Metascore
    • 25 Maitland McDonagh
    It fails utterly as a horror picture, although it delivers plenty of PG-13-rated flesh and unintentional laughs.
    • 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.
    • tbd Metascore
    • 25 Maitland McDonagh
    While the film isn't entirely amateurish -- shots are cut together and the cinematography is professional if not precisely stylish -- the story feels as though large pieces are missing and the characters behave so inconsistently that there's zero incentive to care about their tribulations.
    • 21 Metascore
    • 25 Maitland McDonagh
    The laughs are low, the breasts are high, and the film is instantly forgettable.
    • 27 Metascore
    • 25 Maitland McDonagh
    Peter Fonda's cameo appearance is a cute fillip, but hardly worth the wait.
    • 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.
    • 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.
    • 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.
    • 34 Metascore
    • 25 Maitland McDonagh
    A high-profile cast can't save this multi-narrative drama about gambling addiction from its wildly uneven tone, which veers from high melodrama to hard-boiled pastiche so overwrought that it's unintentionally funny.
    • 50 Metascore
    • 25 Maitland McDonagh
    Everyone involved seems to have been operating from the presumption that gross and blasphemous equals hilarious. Would that it did.
    • 56 Metascore
    • 25 Maitland McDonagh
    An excruciating series of gags aimed at kids old enough to think it's funny when a grown-up acts like a small child.
    • 36 Metascore
    • 25 Maitland McDonagh
    The film is preposterous on so many counts that it's hard to enumerate them.
    • 41 Metascore
    • 25 Maitland McDonagh
    First-time writer-director Ryan Shiraki's crude, gross comedy of campus sexual errors might push boundaries better were it not so painfully unfunny.
    • 44 Metascore
    • 25 Maitland McDonagh
    The film rings so consistently false that it's more likely to induce snickers and eye-rolling.
    • 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.
    • 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.
    • 15 Metascore
    • 25 Maitland McDonagh
    Director Uwe Boll sticks with what he knows -- how to turn video games into dull, cheap-looking movies.
    • 9 Metascore
    • 25 Maitland McDonagh
    The musical number that runs during the closing credits funnier than anything that precedes it, which isn't saying much.
    • 46 Metascore
    • 25 Maitland McDonagh
    It's not that you can't go home again. It's that you SHOULDN'T, at least not in a lowbrow Hollywood comedy, because your family will inevitably be lewd, crude, loud and obnoxious.
    • 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.
    • 17 Metascore
    • 25 Maitland McDonagh
    A preposterous misfire.
    • 15 Metascore
    • 25 Maitland McDonagh
    Lazy, superficially au courant and utterly forgettable.
    • 26 Metascore
    • 25 Maitland McDonagh
    So awash in tired ethnic clichés that the story drowns.
    • 24 Metascore
    • 25 Maitland McDonagh
    A morose, slow-moving action picture.
    • 27 Metascore
    • 25 Maitland McDonagh
    So consistently, outrageously wrongheaded in every way it's hard to know where to start.
    • 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.
    • 34 Metascore
    • 25 Maitland McDonagh
    It lacks the courage of its swinish convictions, and abruptly acquiesces to bland rom-com clichés three-quarters of the way to its appointed end.
    • 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.
    • 64 Metascore
    • 25 Maitland McDonagh
    Toback quickly reveals himself as an insufferable, opinionated blowhard who pontificates shamelessly about the art of the cinema while indulging his own obsessions on film.
    • 27 Metascore
    • 20 Maitland McDonagh
    Repetitive, predictable comedy.
    • 13 Metascore
    • 20 Maitland McDonagh
    The less said about the story's twists and turns the better, except to warn that they become increasing preposterous with each passing minute.
    • 32 Metascore
    • 20 Maitland McDonagh
    If you can't spell "bogeyman," you shouldn't make movies about him.
    • 31 Metascore
    • 20 Maitland McDonagh
    The film vacillates between inanity and flat-out lameness, and the decision to recut from an R-rated version to a PG-13 sucked out whatever life might have been left.
    • 41 Metascore
    • 20 Maitland McDonagh
    The result is an unpleasant slog to an unrewarding conclusion that feels far longer than it is.
    • 11 Metascore
    • 20 Maitland McDonagh
    Crass, trashy and none-too-funny comedy.
    • 35 Metascore
    • 20 Maitland McDonagh
    Even by the degraded standards of dim-witted summer blockbusters, this is sorry stuff.
    • 23 Metascore
    • 20 Maitland McDonagh
    This bare-bones plot is merely an excuse to string together a series of gross-out jokes involving bodily fluids, private parts, food and genetic deformities.
    • 24 Metascore
    • 20 Maitland McDonagh
    The profoundly unconvincing CGI work only makes the sorry screenplay and lackluster performances look worse.
    • 41 Metascore
    • 20 Maitland McDonagh
    Puerile, gross and pandering to the lowest impulses of teenage boys.
    • 54 Metascore
    • 20 Maitland McDonagh
    Director Jesse Peretz, onetime bassist for The Lemonheads, cut his teeth on music videos and appears to have embraced the austere aesthetics of Dogme 95 filmmakers without comprehending that an interesting story and well-developed characters are supposed to be part of the package.
    • 32 Metascore
    • 20 Maitland McDonagh
    Not funny at all.
    • 54 Metascore
    • 20 Maitland McDonagh
    Only die-hard and undemanding Chan fans need apply.
    • 18 Metascore
    • 20 Maitland McDonagh
    The pacing is slack, the comedy has an oddly sour tone and frankly, no matter how hard the script tries to paint Sean as a petty martinet with a stick up his butt, it's hard not to sympathize with him.
    • 52 Metascore
    • 20 Maitland McDonagh
    Juvenile and pointless.
    • 16 Metascore
    • 20 Maitland McDonagh
    Muddled tale of demonic hijinks and devil worship. It's terrible.
    • 19 Metascore
    • 20 Maitland McDonagh
    This big budget mish-mash is almost unbelievably derivative and shockingly cheap looking.
    • 16 Metascore
    • 20 Maitland McDonagh
    The air of low-budget Eurotrash is unmistakable. Almost everybody has an unidentifiable accent.
    • 15 Metascore
    • 20 Maitland McDonagh
    An excruciatingly unfunny comedy.
    • 18 Metascore
    • 20 Maitland McDonagh
    It's hard to imagine who would find this funny.
    • 45 Metascore
    • 20 Maitland McDonagh
    A failure on every level.
    • 23 Metascore
    • 20 Maitland McDonagh
    Has a sour undertone that strangles its cheap laughs.
    • 7 Metascore
    • 20 Maitland McDonagh
    As bad as the title, and much longer.
    • 18 Metascore
    • 20 Maitland McDonagh
    Director Jamie Blanks "Urban Legend" appears to be carving himself a career making slasher movies for a new generation; unfortunately, he's in no way improving on the originals.
    • 23 Metascore
    • 20 Maitland McDonagh
    Its misogyny, homophobia and overall grossness undermine the tired gags, and its relentless portrayal of African-American women as money-grubbing hootchie mamas (the sole exception is, of course, Dre's mom) would be wholly unacceptable if a white filmmaker had been at the helm.
    • 18 Metascore
    • 20 Maitland McDonagh
    Surprisingly, Hurley comes off better than either of her demonstrably more versatile co-stars; she's not much of an actress, but she has an engagingly saucy swagger and her open-mouthed expression of outraged disbelief is priceless.
    • 73 Metascore
    • 20 Maitland McDonagh
    This stage-bound farce could easily be an American sitcom: It's all slamming doors, eavesdropping and stupid miscommunications, garnished with a heavy-handed helping of comedy of humiliation.
    • 31 Metascore
    • 20 Maitland McDonagh
    The hyperactive Hong Kong action stuff is getting old.
    • 41 Metascore
    • 20 Maitland McDonagh
    The final irony is that it's tailored for a PG-13 audience: The violence is bloodless, the sex is all come-on and the surreally reckless stunts cater to viewers too young to drive.
    • 19 Metascore
    • 20 Maitland McDonagh
    Even Spade's most dedicated fans would probably be better off staying home and watching a "Just Shoot Me" rerun.
    • 14 Metascore
    • 20 Maitland McDonagh
    An arty fright flick that's neither artistic nor the least bit scary.
    • 25 Metascore
    • 20 Maitland McDonagh
    Despite the futuristic setting, which relies so heavily on GGI effects that it looks like a feature-length production concept painting, this film is painfully predictable.
    • 38 Metascore
    • 20 Maitland McDonagh
    There's at least one ending too many, Union regularly vanishes for long stretches of the movie, and director Michael Bay's unmitigated pandering to viewers who whoop with glee whenever someone gets it between the eyes is genuinely distasteful.
    • 37 Metascore
    • 20 Maitland McDonagh
    Formulaic hodge-podge that trades on a certain demographic's affection for the bogeymen of their formative years.
    • 38 Metascore
    • 20 Maitland McDonagh
    This new SAW film is so utterly unimaginative it doesn't even count as hommage; it's just a smudgy copy of a still chilling original.
    • 30 Metascore
    • 20 Maitland McDonagh
    Bloated and incoherent.
    • 12 Metascore
    • 20 Maitland McDonagh
    The gags are familiar collegiate stuff, involving horny young men, horny old whores -- horny young tramps -- silly foreigners, uptight authority figures, homosexuals and sassy fat women.
    • 25 Metascore
    • 20 Maitland McDonagh
    Is there anything so painful as a comedy whose every gag falls flat and then lies there, flopping like a dying flounder?
    • 28 Metascore
    • 20 Maitland McDonagh
    This dreary science-fiction/historical-action hybrid is a misfire of staggering proportions.
    • 26 Metascore
    • 20 Maitland McDonagh
    In the hands of a more gleefully provocative filmmaker, this variation on the standard erotic-thriller stew of sleaze, tease and murder, this ludicrous farrago might have been tawdry fun.
    • 6 Metascore
    • 20 Maitland McDonagh
    This is sorry stuff.
    • 24 Metascore
    • 20 Maitland McDonagh
    What really sinks the film, though, is the utter absence of chemistry between Perry and Willis.
    • 18 Metascore
    • 20 Maitland McDonagh
    The spectacle of the near-naked Ricki (Lopez) striking sexually provocative yoga poses while floridly extolling the virtues of female genitalia is particularly mortifying, but it's only one of many horribly miscalculated scenes.
    • 30 Metascore
    • 20 Maitland McDonagh
    Pokey, blood-spattered, cheap-scare-larded prequel.
    • 12 Metascore
    • 20 Maitland McDonagh
    Painfully unfunny and misguided to boot.
    • 43 Metascore
    • 20 Maitland McDonagh
    In search of inspiration and the human spirit triumphant, they managed to cook up a pot of sanctimonious, reductive claptrap (which the credits confess was only "inspired" by Quinn's book) that's not in the least instructive or entertaining.
    • 37 Metascore
    • 20 Maitland McDonagh
    Cynical and contemptuous of its audience, this lazy sequel oozes an insufferable air of self-satisfaction.
    • 24 Metascore
    • 20 Maitland McDonagh
    Lame, derivative comedy.
    • 9 Metascore
    • 20 Maitland McDonagh
    The story's broad strokes are painfully clichéd and its details make no sense at all.
    • 19 Metascore
    • 20 Maitland McDonagh
    Frenetic and cheerless action aside, the film's real problem is the Cat, who looks most unmagically like a second-string college sports mascot and conducts himself like a risque baggy-pants comedian.
    • 14 Metascore
    • 20 Maitland McDonagh
    Obvious and, frankly, 25 years too late.
    • 54 Metascore
    • 20 Maitland McDonagh
    The parade of eccentrics never ends, and Stone's near-miraculous achievement is to drain the life right out of material so sordid you'd think it couldn't help but be interesting. A must to avoid.
    • 34 Metascore
    • 20 Maitland McDonagh
    The first fruit of wunderkinder Alicia Silverstone's First Kiss Productions, this muddled thriller-cum-romantic comedy of errors suggests that she might want to lay off the producing for a few years.
    • 11 Metascore
    • 20 Maitland McDonagh
    This tedious hodgepodge of martial-arts mayhem, bogus mysticism and computer-generated special effects doesn't even pretend to have a plot.
    • 30 Metascore
    • 20 Maitland McDonagh
    Utterly amateurish.
    • 9 Metascore
    • 20 Maitland McDonagh
    This amateurish comedy features some amazing sequences shot in Moscow. But everything else about it is second rate.
    • 7 Metascore
    • 0 Maitland McDonagh
    Preposterous, disingenuous, remarkably unfunny and genuinely distasteful.
    • 24 Metascore
    • 0 Maitland McDonagh
    Is there anything more irritating than an exploitation filmmaker with self-referentiality on the brain?
    • 5 Metascore
    • 0 Maitland McDonagh
    Vulgar doesn't begin to describe it: Try one of the foulest, least funny films ever made under the rubric of black comedy.
    • 12 Metascore
    • 0 Maitland McDonagh
    Not clever. Not scary. Not funny.