Todd McCarthy

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For 1,620 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Shrek
Lowest review score: 0 Showgirls
Score distribution:
1620 movie reviews
    • 46 Metascore
    • 50 Todd McCarthy
    Despite the highly mobile and often arresting work of cinematographer Christina Voros, The Broken Tower is not a heady experience like many of the semi-experimental 1960s films he emulates. Instead, it's mostly a tedious chore, much akin to listening poetry you don't much like.
    • 49 Metascore
    • 50 Todd McCarthy
    We have a monotonous conjectural melodrama for the faith-based crowd that does nothing to reach out to others. It does indicate how a very important seed was planted for the blossoming of Christianity, but is banal where it needed to be charged with passion and a palpable religious compulsion of its own.
    • 48 Metascore
    • 40 Todd McCarthy
    Brandishing impressively packed abs and enough upper body strength to pull herself out of countless jams, Alicia Vikander gamely steps into the kick-ass role twice played by Angelina Jolie, but the derivative story and cardboard supporting characters are straight out of 1930s movie serials.
    • 73 Metascore
    • 60 Todd McCarthy
    Although well made and acted, the real question surrounding this microscopic look at men enduring the severe pressure of trench warfare is what relevance it may have for a modern audience. The answer is, probably not much.
    • 53 Metascore
    • 50 Todd McCarthy
    Only the faintest glimmers of genuine, earned emotion pierce through the layers of intense calculation that encumber Ava DuVernay's A Wrinkle in Time.
    • 67 Metascore
    • 50 Todd McCarthy
    First-time screenwriters Taylor Allen and Andrew Logan have done their homework in organizing the material but haven’t brought an argument to the table that might have zapped the film to life; everything is methodical, it covers most of the bases, but passion and vitality are crucially missing from director John Curran’s treatment.
    • 79 Metascore
    • 90 Todd McCarthy
    To be sure, the climax delivers copious amounts of blood and guts and tension and look-away temptations. But there are enough interesting surprises, in addition to the narrative promise, to provide for the presumed, and now quite desired, sequels.
    • 45 Metascore
    • 50 Todd McCarthy
    Eastwood's main achievement here lies in trusting his hunch that the young men could handle playing themselves onscreen, with an acceptable naturalness and without self-consciousness. This they do, without a false note.
    • 88 Metascore
    • 80 Todd McCarthy
    The actors are all seen to very good advantage. Boseman certainly holds his own, but there are quite a few charismatic supporting players here keen to steal every scene they can — and they do, notably the physically imposing Jordan, the radiant Nyong'o and especially Wright, who gives her every scene extra punch and humor.
    • 54 Metascore
    • 70 Todd McCarthy
    It's virtually all Hemsworth's show and he's entirely up to the task of carrying the film on his broad shoulders: He's charismatic, fearless, confident, jokey and a good old Kentucky boy who just wants to get the job done and return home to his wife and daughter.
    • 72 Metascore
    • 90 Todd McCarthy
    It's a true-life yarn loaded with extremes, of wealth, personal eccentricities, grief, tension, daring, criminal means to political ends, maternal drive and luck, both bad and good. It is also a peek into a rarefied world where money knows no bounds and yet means everything.
    • 85 Metascore
    • 70 Todd McCarthy
    Loaded with action and satisfying in the ways its loyal audience wants it to be, writer-director Rian Johnson's plunge into George Lucas' universe is generally pleasing even as it sometimes strains to find useful and/or interesting things for some of its characters to do.
    • 90 Metascore
    • 100 Todd McCarthy
    More unconventional and downright weird on a moment-to-moment basis than it is in overall design and intent, it's a singular work played out mostly in small rooms that harks back to psychological melodramas of the 1940s/50s but hits stylistic notes entirely its own.
    • 83 Metascore
    • 90 Todd McCarthy
    It's a dramatic tale loaded with all manner of dynamics, political and personal, and Spielberg charges out of the gate at a brisk clip, extends his hand and all but enjoins the viewer to grab hold and be swept along for the ride.
    • 45 Metascore
    • 30 Todd McCarthy
    Garishly unattractive to look at and lacking the spirit that made Wonder Woman, which came out five months ago, the most engaging of Warner Bros.' DC Comics-derived extravaganzas to date, this hodgepodge throws a bunch of superheroes into a mix that neither congeals nor particularly makes you want to see more of them in future. Plainly put, it's simply not fun.
    • 52 Metascore
    • 70 Todd McCarthy
    Given the confined nature of the material as well as its period-specific aspects, this is a yarn that does not exactly invite radical reinterpretation. As such, its appeal is confined to the traditional niceties of being a clever tale well told, with colorful characters that are fun to watch being made to squirm by the inimitable Belgian detective.
    • 74 Metascore
    • 60 Todd McCarthy
    A resourceful, if rather hyperbolic documentary that devotes 90 minutes to analyzing one of the most famous scenes in film history.
    • 66 Metascore
    • 70 Todd McCarthy
    Marshall is a solid, straightforward courtroom drama with proud liberal credentials, one that could have been made by Norman Jewison around 1967.
    • 72 Metascore
    • 80 Todd McCarthy
    Because of its cast of young men being buff and hormonal and good at their jobs, one could say that Only the Brave is the Top Gun of firefighter movies, the difference being that the new film feels like it's embedded in reality rather than in an aerial wet dream.
    • 81 Metascore
    • 70 Todd McCarthy
    As a contrast to Gosling's deliberately deadened, emotionally zoned-out turn, Ford almost single-handedly amps up a film otherwise intentionally drained of character vitality.
    • 44 Metascore
    • 70 Todd McCarthy
    This fleet-footed, glibly imaginative international romp stays on its toes and keeps its wits about it most of the time, with entertaining and pointedly U.S.-friendly cast additions.
    • 71 Metascore
    • 80 Todd McCarthy
    Sorkin both entertains and makes you lean in to absorb every detail of this wild tale, which boasts a stellar cast to help tell it.
    • 73 Metascore
    • 90 Todd McCarthy
    Just about everything about this film is winning and gratifying.
    • 94 Metascore
    • 90 Todd McCarthy
    The film abounds with pinpoint insights into its mildly rebellious heroine's hunger to shed the restraints of home and Catholic school and bust into an independent life, and does so with a wealth of keenly observed detail.
    • 75 Metascore
    • 80 Todd McCarthy
    This is a tale that, like any number of fanciful genre outings, both pulls you in with its intriguing central dramatic situation and pushes you out with some mightily far-fetched plot contrivances.
    • 75 Metascore
    • 70 Todd McCarthy
    McCarten’s scene writing is tart and efficient and Wright infuses the drama with unquestioned energy. But this is a film in which every point and meaning is hit directly on the nose.
    • 63 Metascore
    • 100 Todd McCarthy
    Captivating, funny and possessed of a surprise-filled zig-zag structure that makes it impossible to anticipate where it's headed, this is a deeply humane film that, like the best Hollywood classics, feels both entirely of its moment and timeless.
    • 78 Metascore
    • 80 Todd McCarthy
    Working with a script by first-time writer Rebecca Blunt, Soderbergh has made the sort of breezy, unpretentious, just-for-fun film that scarcely exists anymore, one almost anyone could enjoy.
    • 77 Metascore
    • 70 Todd McCarthy
    Intense and physically powerful in the way it conveys its atrocious events, the film nonetheless remains short on complexity, as if it were enough simply to provoke and outrage the audience. It's a grim tale with no catharsis.
    • 94 Metascore
    • 100 Todd McCarthy
    Dunkirk is an impressionist masterpiece. These are not the first words you expect to see applied to a giant-budgeted summer entertainment made by one of the industry's most dependably commercial big-name directors. But this is a war film like few others, one that may employ a large and expensive canvas but that conveys the whole through isolated, brilliantly realized, often private moments more than via sheer spectacle, although that is here too.

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