Mike McCahill
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For 70 reviews, this critic has graded:
  • 30% higher than the average critic
  • 2% same as the average critic
  • 68% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Mike McCahill's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 80 It's Such a Beautiful Day
Lowest review score: 20 Blended
Score distribution:
  1. Positive: 9 out of 70
  2. Negative: 2 out of 70
70 movie reviews
    • 84 Metascore
    • 80 Mike McCahill
    Like José Luis Guerín's brilliant 2007 curio "In the City of Sylvia," this is one of those rare films that may change the way you view the world.
    • 83 Metascore
    • 80 Mike McCahill
    An unexpected joy.
    • 71 Metascore
    • 80 Mike McCahill
    As an antidote to Premier League cynicism, it couldn't be bettered.
    • 72 Metascore
    • 80 Mike McCahill
    The film finds the subtle tells that suggest these free-roaming girls might themselves have become prisoners of war, while enveloping its heroines in a persuasive turbulence: unpredictable, never forced, and forever compelling.
    • 90 Metascore
    • 80 Mike McCahill
    Funny, oddly affecting and cherishably personal.
    • 69 Metascore
    • 80 Mike McCahill
    Considering these characters are bounced round like pinballs, it’s amazing Hawke and the hitherto unknown Snook gain the emotional traction they do: even those struggling to keep up can’t fail to notice how these two are burnt, figuratively and literally, by their experiences.
    • 80 Metascore
    • 80 Mike McCahill
    A social conscience movie with real cinematic bite.
    • 86 Metascore
    • 80 Mike McCahill
    Longinotto and editor Ollie Huddleston stitch it, with lightness and dexterity, into a wholly edifying, often stirring tapestry of survivors’ stories.
    • 87 Metascore
    • 80 Mike McCahill
    You emerge from this brutally unsentimental education with your chest pounding and your ears ringing – its radical empathy extends to putting us in not just the same room as its subjects, but the same helpless, despairing position. Some films are made to leave you speechless; for some experiences, there can be no words.
    • 40 Metascore
    • 60 Mike McCahill
    Wan remains a crafty enough director to draw your eye warily across the frame. You shouldn't feel so daft for flinching this time.
    • 59 Metascore
    • 60 Mike McCahill
    Fortunately, the animators get stuck in: the foodscape Flint's party passes through is again wittily realised, each frame sprinkled with colourful hybrid creations, from "flamangos" to "shrimpanzees".
    • 40 Metascore
    • 60 Mike McCahill
    [Jason Statham] has some nice, relaxed moments with onscreen daughter Izabela Vidovic, and gets to fulfil half his audience's fantasies in wiping the smirk from James Franco's face.
    • 64 Metascore
    • 60 Mike McCahill
    The actors lend it a sick heft, and there are droll, region-specific footnotes...but one senses the sniggering film-makers playing variably funny games with our phobia of pedophiles, rather than having anything lasting to say about it.
    • 41 Metascore
    • 60 Mike McCahill
    The arrestingly fierce Cooke, in particular, is surely a star in the making.
    • 66 Metascore
    • 60 Mike McCahill
    Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.
    • 55 Metascore
    • 60 Mike McCahill
    Yes, the franchise's appeal lies in watching very ordinary boys making prats of themselves – but couldn't the vehicles transporting them to the wider world display slightly more ambition?
    • tbd Metascore
    • 60 Mike McCahill
    Too much chaos ultimately prevails, but the rehearsal sequences at least forsake vapid luvvie-isms for close, instructive study of how to pull the best out of actors and text alike.
    • 61 Metascore
    • 60 Mike McCahill
    Set it against the shiny blandishments that have passed for family fun this season, and it starts to look vaguely radical.
    • 68 Metascore
    • 60 Mike McCahill
    It’s not as focused as its predecessor, but its best sequences rehydrate the mind.
    • 46 Metascore
    • 60 Mike McCahill
    The weakness is in the material: these are second-string Miller yarns... But the vision remains uncompromising and it dazzles far more than any sequel should.
    • 66 Metascore
    • 60 Mike McCahill
    If it all feels too anomalous to seal its case against today's big legal and corporate predators, it never lacks for diverting turns and quirks.
    • 48 Metascore
    • 60 Mike McCahill
    The action is colourful, the vistas as organic as pixels will allow and, once it gets past the quickfire editing of the early stages, considered application of 3D heightens the sense of space and glide. Not much magic, but an appreciable level of polish.
    • 50 Metascore
    • 60 Mike McCahill
    The franchise is a low-risk work-in-progress, but DeMonaco is improving as a shotmaker.
    • 70 Metascore
    • 60 Mike McCahill
    Schwarz offsets the camp with a sincere appreciation of both the obvious, larger-than-life personality and this performer's oft-overlooked skills.
    • 75 Metascore
    • 60 Mike McCahill
    It sometimes strays off the beaten track into shapelessness, but Oreck lends individual segments a quiet fascination.
    • 71 Metascore
    • 60 Mike McCahill
    Peake, warmly sketching a woman busy fooling herself that everything will work out, and Forte, as precise as he was in Nebraska, keep it honest, and within touching distance of real poignancy.
    • 62 Metascore
    • 60 Mike McCahill
    42
    Boseman hits his key scenes out of the park, making a swell couple with Shame's Nicole Beharie, while Helgeland stages Robinson's signature base-stealing with undeniable aplomb.
    • 61 Metascore
    • 60 Mike McCahill
    The director's background in online shorts manifests itself in an occasional, montage-heavy scattiness, and the broadly conventional closing act can't quite maintain the laugh rate, but there's a lot of warm-hearted and commendably daft business along the way.
    • 53 Metascore
    • 60 Mike McCahill
    Headland has comic smarts enough to venture both filthily revisionist readings of My So-Called Life and riffs on the Potsdam conference, while refusing her audience any comforting safety nets.
    • tbd Metascore
    • 60 Mike McCahill
    It makes the text feel newly alive, bristly, radical. A palpable hit, in any language.
    • 47 Metascore
    • 60 Mike McCahill
    The film is never less than amiable, and rather more spirited and nonconformist than the Transformers movies.
    • tbd Metascore
    • 60 Mike McCahill
    Star power aside, it’s a modest, reined-in entertainment, rejecting musical numbers for a simple whistled refrain, and clocking in at just two hours.
    • 67 Metascore
    • 60 Mike McCahill
    This apocalypse isn’t a nightmare so much as the ultimate bromantic fantasy, one in which – with the removal of any responsibility – the boys are free to bicker, banter, and bed down together.
    • 51 Metascore
    • 60 Mike McCahill
    Only a film as big as Africa could have done Adichie’s novel full justice; the treatment it gets here, equally honourable and hurried, reduces it to Nigerian soap with BAFTA-level acting.
    • 60 Metascore
    • 60 Mike McCahill
    If you’re in the market for a workaday crime story, Schechter’s film fulfills some of its obligations. You might just wish it had more life.
    • 55 Metascore
    • 60 Mike McCahill
    As the narrative approaches its desired fusion of Gallic and Indian cuisine, so too Hallstrom looks to have hit his sweet spot: the very middle of middlebrow.
    • 65 Metascore
    • 60 Mike McCahill
    Its success may depend on how alert you’re feeling, but for once you can’t complain that a movie hasn’t given your synapses a thorough workout.
    • 68 Metascore
    • 60 Mike McCahill
    Strange as it sounds – and is – Kumiko comprises a lingering display of empathy for its heroine, marching stridently on through her own peculiar headspace.
    • 73 Metascore
    • 60 Mike McCahill
    It’s Akhavan’s presence that elevates it above a crowded field. Her film’s a little bit different from the norm, and that – for now – is promising enough.
    • 77 Metascore
    • 60 Mike McCahill
    Vengeance has powered countless movies over the years, but rarely can it have been given such a thorough – and thoroughly entertaining – showcase as it gets in Wild Tales.
    • 48 Metascore
    • 60 Mike McCahill
    Mostly it’s a scare machine, and in this respect Kenan’s is the more efficient telling, its VFX lubricating all that now creaks about the original.
    • 38 Metascore
    • 40 Mike McCahill
    Odd zingers and residual eccentricities (a Whit Stillman cameo, anyone?) stand as traces of the blast it might have been, but this cast surely signed on in anticipation of many more laughs than there are in the final cut.
    • 41 Metascore
    • 40 Mike McCahill
    The odd vivid shot reminds you of Rodriguez's dynamic visual imagination, but also what it's wasted on here: a project as indifferent as some of the trash that inspired it.
    • 22 Metascore
    • 40 Mike McCahill
    You watch the resultant, wholly bloodless carnage with brain in neutral and eyes glazing over, as you would a re-run of Police, Camera, Action! at two in the morning.
    • 48 Metascore
    • 40 Mike McCahill
    Beneath middling songs – walloped out in the artless, post-Cowell manner – there's something faintly touching about its vision of broken homes.
    • 28 Metascore
    • 40 Mike McCahill
    Hollywood's latest play for the growing Asian market revisits the ancient Japanese legend of self-sacrifice, hoping to offset its garbled narrative and grinding humourlessness with 3D and Keanu Reeves as a samurai Jesus.
    • 39 Metascore
    • 40 Mike McCahill
    Cox's guardedly avuncular turn might have sustained a more rigorous endeavour, but the attempt to evoke the trauma of the Munich air disaster is rendered wholly insupportable by the trifling hooey around it.
    • 46 Metascore
    • 40 Mike McCahill
    The smart cast occupy themselves with the dog-eared emotions scattered around the waiting rooms.
    • 56 Metascore
    • 40 Mike McCahill
    Hamm and Alan Arkin's grouchy scout conclude these deals with unarguable professionalism, but we can spot the manoeuvres required to magic neocolonialist playbook into heartwarming fairytale.
    • 44 Metascore
    • 40 Mike McCahill
    Its destructive setpieces may loose the odd popcorn kernel on to the multiplex carpet, but it's really just an effects reel: the weather – cloudy wisps turning to massive, fiery hellblasts – is considerably better developed than its quarry. Stick with Twister.
    • 29 Metascore
    • 40 Mike McCahill
    Whatever enlightenment there is here proves far too easily gained. Keep looking, folks.
    • 38 Metascore
    • 40 Mike McCahill
    Ping-ponging camera moves temporarily distract from the haphazard structuring and translation.
    • 37 Metascore
    • 40 Mike McCahill
    The absence of new or sustainable ideas dooms it to instant mediocrity.
    • 49 Metascore
    • 40 Mike McCahill
    Ti West's latest feels both more expansive – choppering Vice reporters into a seemingly progressive tropical utopia raises intriguing social themes – and yet a marked disappointment.
    • 42 Metascore
    • 40 Mike McCahill
    Tom Gustafson's film proves genial to a fault.
    • 47 Metascore
    • 40 Mike McCahill
    Wallace permits some debate as to what this tale represents – miracle? horror show? evidence of declining anaesthesiology standards? – yet that titular conclusion depends entirely on faith: what's on screen peters out.
    • 44 Metascore
    • 40 Mike McCahill
    Spiritually, it's closer to a mid-range crowd-pleaser such as City Slickers than Blazing Saddles, too enamoured of genre convention to reach for the comic dynamite.
    • 25 Metascore
    • 40 Mike McCahill
    Even by the standards of allowance-snatching half-term filler, this is pretty indifferent.
    • 47 Metascore
    • 40 Mike McCahill
    It's imprisoned by its own glibness, grabbing for sensation over emotion, and looking silly whenever it misses.
    • 30 Metascore
    • 40 Mike McCahill
    A certain doofy sincerity – all fairy lights and lakeside kisses – and Wilde's nervy, natural responses keep matters semi-watchable. As a romance, though, it's by-the-book.
    • 40 Metascore
    • 40 Mike McCahill
    It’s no-frills, B-movie modesty might have been winning, if it weren’t so dashed-off.
    • 52 Metascore
    • 40 Mike McCahill
    Though our heroine remains more self-reliant than most Disney princesses, the film is too mild to constitute any kind of statement.
    • 58 Metascore
    • 40 Mike McCahill
    The more tangled the plot becomes, the more hackneyed Skjoldbaerg’s tactics get.
    • 38 Metascore
    • 40 Mike McCahill
    These catacombs are just an echo chamber into which any rubbish can be pumped, and while this gives carte blanche to production designer Louise Marzaroli, the relentless flow of subterranean non-sequitur becomes at least as trying as the whirling, jerky non-cinematography.
    • 49 Metascore
    • 40 Mike McCahill
    [Aniston's] the one element keeping this unexceptional dramedy halfway watchable.
    • 55 Metascore
    • 40 Mike McCahill
    This underdeveloped offering barely lifts itself off the drawing board.
    • 35 Metascore
    • 40 Mike McCahill
    This tale, more mechanical than human, is finally beyond [Bier's] skillset: it required ruthless tinkering, not the softly-softly approach.
    • 43 Metascore
    • 40 Mike McCahill
    Winterbottom’s shapeshifting spontaneity has long seemed as much limitation as virtue, characteristic of a filmmaker unable or unwilling to commit to his own better ideas. Here, you feel him hedging around his subject, less out of sensitivity than a constitutional evasiveness, an inability to formulate a clear line of argument.
    • 31 Metascore
    • 20 Mike McCahill
    It proves very much un film de Sandler: so lazy you feel unconscionably guilty for snorting at the three jokes in its two hours that merit any response.
    • 16 Metascore
    • 20 Mike McCahill
    Ban this sick filth.

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