Mike McCahill

Select another critic »
For 118 reviews, this critic has graded:
  • 33% higher than the average critic
  • 4% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 8.8 points lower than other critics. (0-100 point scale)

Mike McCahill's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 80 Prem Ratan Dhan Payo
Lowest review score: 20 The Visit
Score distribution:
  1. Positive: 19 out of 118
  2. Negative: 7 out of 118
118 movie reviews
    • 78 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.
    • 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.
    • 77 Metascore
    • 80 Mike McCahill
    The debutant director applies himself with the same quiet assurance and attention to detail he’s displayed in his acting projects.
    • 71 Metascore
    • 80 Mike McCahill
    For all The Falling’s period trimmings, its uncanny power resides in these ellipses and blackouts – in elements that cannot be easily rationalised.
    • 83 Metascore
    • 80 Mike McCahill
    An unexpected joy.
    • tbd Metascore
    • 80 Mike McCahill
    This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion.
    • 65 Metascore
    • 80 Mike McCahill
    It may wind up as the year's most significant horror film; it's certainly among the most original.
    • tbd Metascore
    • 80 Mike McCahill
    Baahubali demonstrates the pleasing, straight-ahead simplicity of certain videogames: whenever our hero accomplishes a task, some new challenge presents itself.
    • 85 Metascore
    • 80 Mike McCahill
    What this exceptionally lucid film-survey reveals is what has to go on at ground level, and beneath the surface, in order to power a powerhouse.
    • 80 Metascore
    • 80 Mike McCahill
    A social conscience movie with real cinematic bite.
    • 72 Metascore
    • 80 Mike McCahill
    You’ll shed a tear or two, possibly more.
    • 66 Metascore
    • 80 Mike McCahill
    It’s a film of few frills or flourishes, which never tries to dress up its subject or soften its blows. Yet in its rage and its pain, in the wire-brush scrub it gives to the movies’ woozily romantic notions of alcoholism, Glassland feels wholly honest and true.
    • tbd Metascore
    • 80 Mike McCahill
    If the plot’s familiar, no imagination or expense has been spared in mapping the kingdom it winds through.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 80 Mike McCahill
    Post-Slumdog, Hollywood and Bollywood have repeatedly attempted to collaborate, with mixed results: here, they’ve produced a properly expansive and enthralling afternoon matinee.
    • 51 Metascore
    • 60 Mike McCahill
    A mixed bag, but one that comes good in its closing stretch, working its way towards a place of quiet power.
    • 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.
    • 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.
    • 77 Metascore
    • 60 Mike McCahill
    Robertson gives himself and his actors time to ponder the board and build convincing relationships and tensions: he’s especially deft around his younger performers, allowing them to register as distinct, often defiant personalities.
    • 57 Metascore
    • 60 Mike McCahill
    Director Susanna White favours a generic spy-movie look: those chilly blue filters surely need resting now. Yet she works smartly with her actors: while Skarsgård wolfs down great handfuls of scenery, McGregor effectuates a thoughtful transformation from ineffectual tourist to man in the field.
    • 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.
    • 79 Metascore
    • 60 Mike McCahill
    This thoroughly emo body-swap fantasia, a sizable hit on home turf, demonstrates that [Makoto Shinkai] inherited much of his [Hayao Miyazaki's] artistry and charm, but not yet his narrative mastery – nor, crucially, that magic that distinguishes lasting artworks from well-drawn ’toons for teens.
    • 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.
    • 64 Metascore
    • 60 Mike McCahill
    Every other scene showcases a northern treasure (Coogan, Thomson, Tomlinson, Stansfield) and looks, feels and – crucially – sounds true to its sweaty-hazy, slightly cramped corner of history.
    • 59 Metascore
    • 60 Mike McCahill
    Gradually, the simplicity yields an idiosyncratic charm.
    • tbd Metascore
    • 60 Mike McCahill
    It makes the text feel newly alive, bristly, radical. A palpable hit, in any language.
    • 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.
    • tbd Metascore
    • 60 Mike McCahill
    ABCD2 is the latest film to recognise that – however you gender your gaze – there is an abiding pleasure in watching bodies in motion, and choreographer-turned-director Remo d’Souza keeps nudging more of them on.
    • 80 Metascore
    • 60 Mike McCahill
    Eid proves a dolefully expressive lead, and Wolfgang Thaler’s ever eloquent camerawork is as fascinated by the discovery of bullet shells in the sand – a clue, and a warning – as it is by the punishingly craggy landscape.
    • 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".
    • 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.
    • 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.
    • 41 Metascore
    • 60 Mike McCahill
    The arrestingly fierce Cooke, in particular, is surely a star in the making.
    • 47 Metascore
    • 60 Mike McCahill
    The film is never less than amiable, and rather more spirited and nonconformist than the Transformers movies.
    • 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.
    • 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?
    • 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.
    • 53 Metascore
    • 60 Mike McCahill
    Sy is such an attentive listener in close-up that you instantly grasp the frazzled Alice’s attraction; if she’s less well defined, Gainsbourg’s nervy intelligence and clenched-jaw resistance to sentimentality hold the interest nevertheless.
    • 46 Metascore
    • 60 Mike McCahill
    We’re mostly watching Allam scowling at the eccentrics passing through his eyeline – but it’s still a pleasure, and often a joy, to watch the star measuring out and savouring Fry’s rich wordplay like fingers of scotch.
    • 65 Metascore
    • 60 Mike McCahill
    It’s still no scarier than any branded content, and perhaps only the most lukewarm slumber party would truly need it. Yet if you were to ask whether Origin of Evil offers a better quality of timewasting than its predecessor, my finger would hover inexorably over YES.
    • tbd Metascore
    • 60 Mike McCahill
    If it’s far from bleeding edge – within days, it’ll look as dated as Tron and The Lawnmower Man do today – it’s a modest upgrade on all those killer-website movies that popped up a decade ago, keeping us at least semi-interested as to who stands and falls.
    • 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.
    • tbd Metascore
    • 60 Mike McCahill
    Very solid, very sound entertainment, with thumpingly good Pritam songs that make Eye of the Tiger seem like pipsqueakery.
    • 25 Metascore
    • 60 Mike McCahill
    This offshoot is essentially a well-produced, easily accessed B-movie. Still, it wouldn’t kill you to watch it, and it does more than expected to reinvent its particular wheel.
    • 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.
    • 66 Metascore
    • 60 Mike McCahill
    Nooshin holds on to a strain of logic that doesn't often survive at this level of filmmaking.
    • 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.
    • 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.
    • 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.
    • 47 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.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Mike McCahill
    Raised up on the big screen, the victories look even easier and more jaw-droppingly elemental: flashes of lightning, allowing us to share in the pleasure of watching a fellow human doing something simple preternaturally well.
    • tbd Metascore
    • 60 Mike McCahill
    Prolific sports documentarian James Erskine (Pantani, The Battle of the Sexes) here takes on his most ambitious project yet: a study of Sachin Tendulkar – the closest thing Indian cricket has to a living deity – played out over Test session duration to soaring AR Rahman compositions.
    • 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.
    • 53 Metascore
    • 60 Mike McCahill
    Little here is going to challenge the opinion of Roth as a bratty provocateur, but it’s still fun to experience a latter-day thriller pushing so many buttons in broadly the right order: if Knock Knock’s no more than a sick joke, it’s been very shrewdly constructed.
    • 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.
    • 37 Metascore
    • 40 Mike McCahill
    The summer of inessential animation continues with this very middling sequel to 2014’s semi-forgotten squirrel-based timekiller.
    • 54 Metascore
    • 40 Mike McCahill
    More meme than movie.
    • 36 Metascore
    • 40 Mike McCahill
    Each helter-skelter turn throws up story and design elements you’ll have seen better programmed elsewhere.
    • 59 Metascore
    • 40 Mike McCahill
    The result may honour the daily reality of medical professionals – the finale’s a credibly fractious staff meeting – but it makes for a patchy, hesitant dispatch, more “er …” than ER.
    • tbd Metascore
    • 40 Mike McCahill
    Tamasha keeps shapeshifting, in ways both intriguing and self-defeating.
    • 54 Metascore
    • 40 Mike McCahill
    Hinds is a strong, wounded presence, but the laboured structure cuts insistently around him to get at a psychology mostly scrambled in translation. This Sea's just too choppy.
    • 37 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.
    • 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.
    • 38 Metascore
    • 40 Mike McCahill
    Mark Waters wrings occasional snickers from a patchy script, but the whole feels tamely conventional: misanthropy passed through the usual Hollywood motions.
    • tbd Metascore
    • 40 Mike McCahill
    Suri is also testing the modern audience’s willingness to suspend disbelief, and the material he’s working with here – unfolding the happenstance-heavy mystery of a woman at the mercy of the men around her – proves barely fit for this purpose, or any other.
    • 41 Metascore
    • 40 Mike McCahill
    It has tentacles and hot wheels, yes, but not the legs or bright ideas to sustain itself.
    • 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.
    • 44 Metascore
    • 40 Mike McCahill
    The film achieves a functioning mediocrity we perhaps might have thought beyond this franchise, offering a modicum of diversion in return for the cash disappeared from your wallet.
    • 58 Metascore
    • 40 Mike McCahill
    It’s a thin, trickledown sort of fun.
    • 54 Metascore
    • 40 Mike McCahill
    Director Nicole Garcia strains to give this pablum social grounding, but hair and make-up overtake her.
    • 22 Metascore
    • 40 Mike McCahill
    These films were always down on women – Armstrong squanders the peerless Krysten Ritter as eye candy – but this slovenly runaround only exposes the low opinion they’ve harboured of their target male demographic. We’re meant to identify with them?
    • 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.
    • 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.
    • 40 Metascore
    • 40 Mike McCahill
    What’s odd is that the movie itself turns out not to be some incendiary provocation, but squarely Bollywood trad, a globetrotting weepie unlikely to offend anyone but the most entrenched.
    • 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.
    • 58 Metascore
    • 40 Mike McCahill
    The more tangled the plot becomes, the more hackneyed Skjoldbaerg’s tactics get.
    • 49 Metascore
    • 40 Mike McCahill
    [Aniston's] the one element keeping this unexceptional dramedy halfway watchable.
    • 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.
    • 40 Metascore
    • 40 Mike McCahill
    It’s no-frills, B-movie modesty might have been winning, if it weren’t so dashed-off.
    • 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.
    • 55 Metascore
    • 40 Mike McCahill
    This underdeveloped offering barely lifts itself off the drawing board.
    • 25 Metascore
    • 40 Mike McCahill
    Even by the standards of allowance-snatching half-term filler, this is pretty indifferent.
    • 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.
    • 37 Metascore
    • 40 Mike McCahill
    The actors are committed – Mara, generally waif-like, appears frail indeed – but there’s barely anything worth committing to.
    • 47 Metascore
    • 40 Mike McCahill
    It's imprisoned by its own glibness, grabbing for sensation over emotion, and looking silly whenever it misses.
    • 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.
    • 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.
    • 39 Metascore
    • 40 Mike McCahill
    Dead Men Tell No Tales moves at a faster rate of knots than any Pirates film; trouble is, nothing has really been added. It’s the same soggy ride, set to a marginally preferable speed.
    • 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.
    • 30 Metascore
    • 20 Mike McCahill
    It’s a test of one’s tolerance for watching predominantly empty frames – the anonymous performers scarcely count – in the hope something will jolt us from mounting tedium.
    • 55 Metascore
    • 20 Mike McCahill
    This tardy rehash of fairytale tropes finds sometime genre innovator M Night Shyamalan clinging in abject desperation to the found-footage movement’s careworn coattails.
    • 40 Metascore
    • 20 Mike McCahill
    It’s soon clear that OOTS follows the model of Bay’s Transformers sequels. Longer, louder and boasting even more hardware, it does everything to generate the illusion of bleeding-edge bang-per-buck, while cribbing shamelessly from 1991’s Secret of the Ooze.
    • tbd Metascore
    • 20 Mike McCahill
    One innovation: the application of thrash metal to fight scenes, which at least hushes the shriller voice artists.
    • tbd Metascore
    • 20 Mike McCahill
    Director Prabhudheva’s idea of comedy is broad and very much soundtrack-led.
    • 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.

Top Trailers