Todd McCarthy

Select another critic »
For 1,492 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 1.8 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Sicario
Lowest review score: 0 Showgirls
Score distribution:
1492 movie reviews
    • 56 Metascore
    • 60 Todd McCarthy
    A melodramatic step backward for writer-director Victor Nunez after his last two pictures, the first-rate "Ruby in Paradise" and "Ulee's Gold."
    • 48 Metascore
    • 60 Todd McCarthy
    After the accomplished smoothness of "Match Point," it's back to more ragged form in Scoop, despite the almost identical posh settings, and the return of Scarlett Johansson as leading lady.
    • 62 Metascore
    • 60 Todd McCarthy
    The battle of the sexes is restaged to clever but inconsequential effect in Conversations With Other Women. Very much a case of old wine in a new bottle.
    • tbd Metascore
    • 60 Todd McCarthy
    A comprehensive, personal and surprisingly engaging look at how film crews routinely work hours far beyond anything that can be considered safe, healthy or conducive to a balanced life.
    • 62 Metascore
    • 60 Todd McCarthy
    First-time scripter Paul Bernbaum's framing story, designed to stir up suspicion that George Reeves was a murder victim rather than a suicide, unfortunately proves far less intriguing than does the melancholy tale of a limited actor reaching the end of the line during a transitional period in Hollywood.
    • 49 Metascore
    • 60 Todd McCarthy
    "Chinatown" it ain't, not in any department. On its own level, however, new pic generates a reasonable degree of intrigue.
    • 47 Metascore
    • 60 Todd McCarthy
    Lovingly and knowledgeably made by director Tony Bill, who got his pilot's license as a teenager, pic nonetheless has a lightweight, airbrushed feel; despite the brutal dogfights and inevitable deaths, there's little gravity or resonance.
    • 64 Metascore
    • 60 Todd McCarthy
    Unquestionably the most sexually graphic American narrative feature ever made outside the realm of the porn industry, John Cameron Mitchell's ambitious attempt to merge his characters' active sexual lives with more conventional emotional content is playfully and provocatively entertaining for roughly the first half, but loses staying power thereafter when investment in the uncompelling characters' problems is requested.
    • 65 Metascore
    • 60 Todd McCarthy
    It is far from unpleasant to watch an attractive cast led by Kirsten Dunst parading around Versailles accoutered in Milena Canonero's luxuriant costumes to the accompaniment of catchy pop tunes. But the writer-director's follow-up to her breakthrough second feature, "Lost in Translation," is no more nourishing than a bonbon.
    • 78 Metascore
    • 60 Todd McCarthy
    On its own terms, the plotting of "Devil" is absorbing, and the pieces actually fit together pretty decently. On the other hand, when scenes directly call to mind similar ones in "Chinatown," this effort's stepchild relationship to the classic is forcibly demonstrated.
    • 62 Metascore
    • 60 Todd McCarthy
    Stories of resistance to oppression will never become obsolete, but this feels like a picture that should have been made a long time ago.
    • 56 Metascore
    • 60 Todd McCarthy
    A psychotic seizure of a performance by Christian Bale dominates Harsh Times, the directorial debut of David Ayer that channels "Taxi Driver."
    • 50 Metascore
    • 60 Todd McCarthy
    Picture is impressively crafted and acted but far too narrowly and benignly conceived to satisfy even on its own terms.
    • 56 Metascore
    • 60 Todd McCarthy
    Entirely respectable in every way, it nonetheless has a very cool body temperature and thus likely will inspire polite admiration rather than excitement among viewers.
    • 69 Metascore
    • 60 Todd McCarthy
    Intelligent scripting, solid thesping and eye-catching location shooting aren't enough to make a compelling modern film of The Painted Veil.
    • 52 Metascore
    • 60 Todd McCarthy
    300
    A blustery, bombastic, visually arresting account of the Battle of Thermopylae as channeled through the rabid imagination of graphic novelist Frank Miller.
    • 53 Metascore
    • 60 Todd McCarthy
    An immediately involving yarn of an ace Marine sharpshooter set up to take the fall for an attempted presidential assassination, picture saddles itself with stereotypical villains, hokey contrivances and too-expedient crisis solutions.
    • 57 Metascore
    • 60 Todd McCarthy
    Francis Ford Coppola's take on the Dracula legend is a bloody visual feast. Both the most extravagant screen telling of the oft-filmed story and the one most faithful to its literary source, this rendition sets grand romantic goals for itself that aren't fulfilled emotionally, and it is gory without being at all scary.
    • 45 Metascore
    • 60 Todd McCarthy
    This decorous look at the great man's five years as ambassador to France in the period leading up to the French Revolution touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction.
    • 65 Metascore
    • 60 Todd McCarthy
    Unswervingly sincere and dramatic without surprise or revelation, screenwriter Joe Eszterhas' longtime pet project may be personal, but it offers little to audiences that hasn't been served up in quantity in the past.
    • 63 Metascore
    • 60 Todd McCarthy
    A live-wire performance by Benicio Del Toro sparks an otherwise morose study of loss, addiction and catharsis.
    • 44 Metascore
    • 60 Todd McCarthy
    Reserved, careful and largely predictable in the way it plays out its wrenching emotional crises.
    • 42 Metascore
    • 60 Todd McCarthy
    A feel-good film about death, a sitcom about mortality, "Ikiru" for meatheads. It's also a picture about two cancer patients confronting reality, and deciding how they want to spend their presumed last days, that has not an ounce of reality about it.
    • 71 Metascore
    • 60 Todd McCarthy
    Apart from startling, out-there comic turns by Robert Downey Jr. and Tom Cruise, however, the antics here are pretty thin, redundant and one-note.
    • 60 Metascore
    • 60 Todd McCarthy
    Brandishes physical verisimilitude and intelligent seriousness but proves unable to really get inside its chameleon-like central character.
    • 58 Metascore
    • 60 Todd McCarthy
    Largely set in two of the least appetizing locations imaginable, a concentration camp and an insane asylum, this is a rigorously made film that does almost nothing to invite the viewer into its world.
    • 64 Metascore
    • 60 Todd McCarthy
    Che
    If the director has gone out of his way to avoid the usual Hollywood biopic conventions, he has also withheld any suggestion of why the charismatic doctor, fighter, diplomat, diarist and intellectual theorist became and remains such a legendary figure; if anything, Che seems diminished by the way he's portrayed here.
    • 53 Metascore
    • 60 Todd McCarthy
    This perky, episodic film is as broad and obvious as it could be, but delivers on its own terms thanks to sparky chemistry between its sunny blond stars, Owen Wilson and Jennifer Aniston, and the unabashed emotion-milking of the final reel.
    • 36 Metascore
    • 60 Todd McCarthy
    Serves up enough goofy pranks and fractured wordplay to keep the series purring along.
    • 28 Metascore
    • 60 Todd McCarthy
    The Ugly Truth is an arch, contrived, entirely predictable romantic comedy assembled with sufficient audience-friendly elements to put it over as both a good girls' night attraction and a date-night lure raunchy enough to leave couples in the right mood afterward.
    • 48 Metascore
    • 60 Todd McCarthy
    Less turgid and aggravating than its predecessor, this cleverly produced melodrama remains hamstrung by novelist's Dan Brown's laborious connect-the-dots plotting and the filmmakers' prosaic literal-mindedness in the face of ripe historical antagonisms, mystery and intrigue.
    • 41 Metascore
    • 60 Todd McCarthy
    Genre fans always looking for something new and awesome may feel like they've seen most of this before, but the conceptual and emotional strength of Summit's Nicolas Cage starrer largely carries the day.
    • 60 Metascore
    • 60 Todd McCarthy
    Amusing and engaging yet lacking in snap and cohesion, this insider's look at the world of standup comics in contempo Los Angeles rings true in its view of the variously warped, stunted and narrow lives of its mostly male denizens.
    • 71 Metascore
    • 60 Todd McCarthy
    Director Spike Jonze's sharp instincts and vibrant visual style can't quite compensate for the lack of narrative eventfulness that increasingly bogs down this bright-minded picture.
    • 60 Metascore
    • 60 Todd McCarthy
    9
    Design aspects are arresting and the filmmaker's abilities are obvious, but the basic survival story remains slight, just as the general setting, no matter how artfully imagined, is by now pretty familiar.
    • 66 Metascore
    • 60 Todd McCarthy
    Amusingly eccentric rather than outright funny.
    • 54 Metascore
    • 60 Todd McCarthy
    From a performance p.o.v., Aselton and Shepard hold the screen well and are most watchable, and Aselton does a fluid directing job within the limited challenge she set for herself production-wise.
    • 69 Metascore
    • 60 Todd McCarthy
    The pain feels cushioned and secondhand, the characters are not terribly sympathetic or interesting other than for their misfortune, and the film shows little interest in analyzing the situation other than to point fingers at greedy CEOs.
    • 57 Metascore
    • 60 Todd McCarthy
    For Altman, this is a major statement about American hypocrisy and society’s haves and have-nots, in line with many of his films, but issued in a kind of offhand way that delivers only glancing emotional impact.
    • 69 Metascore
    • 60 Todd McCarthy
    There is unquestionably enough lively material here to snare one’s attention but, even at just 76 minutes, many will feel that this cruise has gone on plenty long enough.
    • 52 Metascore
    • 60 Todd McCarthy
    The generational mix of actors works well enough, although Campbell too often seems stranded with little to do until the climax.
    • 52 Metascore
    • 60 Todd McCarthy
    Undeniably fascinating as a visit to a world you'd never have wanted to have come near in real life -- that of the Hussein family's inner sanctum -- the film falls crucially short by not providing a window into the mind of the man who was coerced into acting as his double.
    • 48 Metascore
    • 60 Todd McCarthy
    A blatant commodity designed to illustrate what a splendid influence the hit television show has been on the world at large, if the series' creators don't mind saying so themselves.
    • 50 Metascore
    • 60 Todd McCarthy
    Red State is cleverly contrarian enough to get a rise out of almost any audience.
    • 48 Metascore
    • 60 Todd McCarthy
    After quite a few tedious detours and distractions, when the film finally gets down to the business of a climax at a gathering of elite European diplomats in a precariously perched Swiss mountain castle, it becomes not half-bad.
    • 51 Metascore
    • 60 Todd McCarthy
    The lead role of a working class former smuggler who dirties his hands again to save his family fits Mark Wahlberg like a glove.
    • 57 Metascore
    • 60 Todd McCarthy
    Rodrigo Garcia's film only intermittently surmounts the limitations of the central character's parched emotional existence and restricted horizons, and the resolutions to some principal dramatic lines seem rather too easy.
    • 82 Metascore
    • 60 Todd McCarthy
    Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.
    • 52 Metascore
    • 60 Todd McCarthy
    This Spanish-lingo farce plays very much like an SNL sketch. The only problem is that it packs about as many laughs into its 85 minutes as a good skit does in eight or 10.
    • 75 Metascore
    • 60 Todd McCarthy
    More than the film that surrounds him, Jack Black is worth the price of admission in Bernie, an oddball May-December true life crime story that would have profited from being a whole lot darker and full-bodied than it is.
    • 57 Metascore
    • 60 Todd McCarthy
    The characters and settings are attractively designed, and the vocal performances have real color and a sense of fun that gently undercuts the treacly sincerity of certain obligatory kid-pandering moments.
    • 58 Metascore
    • 60 Todd McCarthy
    A purist's delight, something the millions of die-hard fans of his Lord of the Rings trilogy will gorge upon. In pure movie terms, however, it's also a bit of a slog, with an inordinate amount of exposition and lack of strong forward movement...There are elements in this new film that are as spectacular as much of the Rings trilogy was, but there is much that is flat-footed and tedious as well, especially in the early going.
    • 55 Metascore
    • 60 Todd McCarthy
    Promised Land presents its environmental concerns in a clear, upfront manner but hits some narrative and character bumps in the second half that weaken the impact of this fundamentally gentle, sympathetic work.
    • 40 Metascore
    • 60 Todd McCarthy
    Made up of synthetics rather than whole cloth, this lurid concoction superficially gets by thanks to a strong cast and jazzy period detail, but its cartoonish contrivances fail to convince and lack any of the depth, feeling or atmosphere of genre stand-bearers like "L.A. Confidential."
    • 34 Metascore
    • 60 Todd McCarthy
    This paean to youthful irresponsibility applies the right crude and rude 'tude to its bulging sack of gags to have the desired effect on its target audience.
    • 41 Metascore
    • 60 Todd McCarthy
    Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.
    • 64 Metascore
    • 60 Todd McCarthy
    Although there is incident in the film's second half...it doesn't build to the level of compelling drama, leaving the film in a quiet, temperate realm that scarcely makes the pulse race.
    • 67 Metascore
    • 60 Todd McCarthy
    Watching a bunch of people take a drug trip is seldom either entertaining or edifying, but Chilean director Sebastian Silva manages to make it at least tolerably amusing.
    • 72 Metascore
    • 60 Todd McCarthy
    After impressing well enough in his previous big screen directorial outings, Abrams works in a narrower, less imaginative mode here; there's little sense of style, no grace notes or flights of imagination. One feels the dedication of a young musician at a recital determined not to make any mistakes, but there's no hint of creative interpretation, personal feelings or the spreading of artistic wings.
    • 61 Metascore
    • 60 Todd McCarthy
    No matter how silly and outlandish the action gets — and it does become ridiculous — it also delivers the goods its audience expects.
    • 66 Metascore
    • 60 Todd McCarthy
    Coppola’s attitude toward her subject seems equivocal, uncertain; there is perhaps a smidgen of social commentary, but she seems far too at home in the world she depicts to offer a rewarding critique of it.
    • 63 Metascore
    • 60 Todd McCarthy
    Ambition markedly outstrips achievement in The Congress, a visionary piece of speculative fiction that drops the ball after a fine set-up.
    • 69 Metascore
    • 60 Todd McCarthy
    This reflection on the past, love and death through the prism of layers of theatrical endeavor is both serious and frisky, engaging on a refined level but frustratingly limited in its complexity and depth.
    • 63 Metascore
    • 60 Todd McCarthy
    Brad Pitt delivers a capable performance in an immersive apocalyptic spectacle about a global zombie uprising.
    • 66 Metascore
    • 60 Todd McCarthy
    Inspiring if not inspired, Lee Daniels' The Butler is a sort of Readers' Digest overview of the 20th century American civil rights movement centered on an ordinary individual with an extraordinary perspective.
    • 58 Metascore
    • 60 Todd McCarthy
    Even as a quasi-experimental work of subjective surrealism, Escape From Tomorrow is massively erratic and isn't particularly original. But it must also be said that its take on Disney World, as well as many of its individual images, are indelible and won’t be easily forgotten.
    • 77 Metascore
    • 60 Todd McCarthy
    A pictorially unusual but dramatically listless tale.
    • 78 Metascore
    • 60 Todd McCarthy
    More pictorially arresting than intellectually coherent.
    • 77 Metascore
    • 60 Todd McCarthy
    Blue Ruin is a talented but sophomoric low-budgeter that straddles the divide between genre thriller and art piece with mixed results.
    • 66 Metascore
    • 60 Todd McCarthy
    Duplass and Moss are put to the test to carry the film entirely on their shoulders and unquestionably carry it off... On the other hand, viewers will have widely disparate reactions to spending 90 uninterrupted minutes with these characters.
    • 67 Metascore
    • 60 Todd McCarthy
    Cronenberg assumes a distinctly clinical approach to the emotional, social and business shenanigans on display here, a perspective that has brilliantly served some of his overtly psychological, horror and sci-fi pieces but gives this one a brittle and airless feel.
    • 54 Metascore
    • 60 Todd McCarthy
    A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.
    • 67 Metascore
    • 60 Todd McCarthy
    The performances are all sincere and solid and the situation is easy to respond to emotionally. But as a case history in the annals of political repression, it feels like a bit of a side show.
    • 77 Metascore
    • 60 Todd McCarthy
    [A] mostly engaging but only fitfully inspired serio-comedy.
    • 54 Metascore
    • 60 Todd McCarthy
    The homily-laden wrap-up, stressing the upside of bad days, is enough to make you hold your nose, but it only lasts a moment, which is suggestive of the way Arteta and the cast provide the energy and momentum to get the job done but not overstay their welcome.
    • 81 Metascore
    • 60 Todd McCarthy
    The ultimate effect of [Östlund's] studied techniques is more restricting than beneficial, which, combined with a protracted running time, faintly self-righteous air and a perplexing, misguided coda, produces a sense of letdown at the end despite the strength of much that has come before.
    • 68 Metascore
    • 60 Todd McCarthy
    Craig Zobel effectively sets all its surface parts in motion but, crucially, doesn’t sufficiently develop that turbulent undercurrents of tension and intrigue that are called for in the hothouse circumstances.
    • 67 Metascore
    • 60 Todd McCarthy
    Garcia’s take, however beautiful physically, is intellectually opaque and creatively cautious, leaving the interested viewer, whether or not a believer, with much to wonder about but little to actually chew on.
    • 66 Metascore
    • 60 Todd McCarthy
    Avengers: Age of Ultron succeeds in the top priority of creating a worthy opponent for its superheroes and giving the latter a few new things to do, but this time the action scenes don't always measure up and some of the characters are left in a kind of dramatic no-man's-land.
    • 59 Metascore
    • 60 Todd McCarthy
    Intensely self-conscious of its status as a cultural commodity even as it devotedly follows the requisite playbook for mass-audience blockbuster fare, Jurassic World can reasonably lay claim to the number two position among the four series entries, as it goes down quite a bit easier than the previous two sequels.
    • 56 Metascore
    • 60 Todd McCarthy
    In its considered, neatly packaged way, the film occupies a safe and solid middle-class middle ground in teen storyland, between crass gross-out comedies and mawkish romance on one side and edgy, exploratory indie fare on the other.
    • 64 Metascore
    • 60 Todd McCarthy
    Although the story dynamics are fundamentally silly and the family stuff, with its parallel father-daughter melodrama, is elemental button-pushing, a good cast led by a winning Paul Rudd puts the nonsense over in reasonably disarming fashion.
    • 93 Metascore
    • 60 Todd McCarthy
    This material cant help but be interesting, even compelling up to a point, but its prosaic presentation suggests that the story's full potential, encompassing deep, disturbing and enduring pain on all sides of the issue, has only begun to be touched.
    • 53 Metascore
    • 60 Todd McCarthy
    Director David Gordon Green’s latest unpredictable addition to his resume is offbeat and appealing on some levels but is neither as funny nor as trenchant as it might have been.
    • 84 Metascore
    • 60 Todd McCarthy
    From a sensory point of view, the film is a pleasure, the images having been manipulated in various ways to evocative effect, Anderson’s voiceovers proving more amusing than not, and the music taking mostly lively turns.
    • 66 Metascore
    • 60 Todd McCarthy
    The gifted fantasy/sci-fi/horror specialist has made a film that's very bloody, and bloody stylish at that, one that's certainly unequaled in its field for the beauty of its camerawork, sets, costumes and effects. But it's also conventionally plotted and not surprising or scary at all, as it resurrects hoary horror tropes from decades ago to utilize them in conventional, rather than fresh or subversive ways
    • 65 Metascore
    • 60 Todd McCarthy
    This is a dish that has been prepared over a low heat for a long time, which makes for some pretty slow-going early on.
    • 48 Metascore
    • 60 Todd McCarthy
    To use what, under the circumstances, is a far too convenient metaphor, Bay is interested in accelerating from zero to 100 as quickly as possible and then maintaining speed, rather than skillfully shifting gears and adjusting speeds based on curves, hills and road conditions. In this case, he gets you there, but you know the ride could have been a lot more varied and nuanced.
    • 73 Metascore
    • 60 Todd McCarthy
    Life may be as unfair and arbitrary as Solondz portrays it, but it is arguably more diverse in its moods and its ups and downs. The pic may not be a dog, but nor is it likely to become anyone’s best friend.
    • 56 Metascore
    • 60 Todd McCarthy
    Once the pieces are all in their places, the deliberate set-up begins to pay some dividends to those who relish the form.
    • 28 Metascore
    • 60 Todd McCarthy
    While not nearly as elaborate, nor as visually sophisticated as the last Mission: Impossible outing or the most recent Bonds, London Has Fallen is actually more plausible at its core, if not in its details, which is partly why it succeeds in laying claim to an audience's attention for the entirety of its swift running time.
    • 54 Metascore
    • 50 Todd McCarthy
    Intermittently engaging but dramatically slack, this tale...is more interesting around the edges than it is at its core, thanks to the dull nature of the lead character played by Matt Damon.
    • 61 Metascore
    • 50 Todd McCarthy
    The gradual dilution of fresh humor is further undercut by a queasy sense that the picture, in the end, is quietly endorsing all the psychoanalytical mumbo jumbo that it has been poking fun at all along.
    • 58 Metascore
    • 50 Todd McCarthy
    As eye and ear candy, pic has its modest pleasures, beginning with the attractive Diggs and Lathan.
    • 76 Metascore
    • 50 Todd McCarthy
    Whit Stillman's stiff directorial approach ill suits the sensual ambiance of the club scene so intently depicted, and the mostly self-conscious, uptight characters seem to have made a left turn out of "Metropolitan" and walked through the wrong door to turn up in this flamboyant druggie scene.
    • 56 Metascore
    • 50 Todd McCarthy
    Charlie Kaufman's clever screenplay bears many traces of the same brand of originality and eccentric imagination that graced his work on "Being John Malkovich," although even at an hour-and-a-half the conceit is stretched almost too thin for audience sustenance.
    • 38 Metascore
    • 50 Todd McCarthy
    As impressive as the industrial-style special effects may be, they're both too much and not enough for this mild mild West.
    • 35 Metascore
    • 50 Todd McCarthy
    A pale reworking of its predecessor.
    • 59 Metascore
    • 50 Todd McCarthy
    Like a light buffet of tasty morsels rather than a full and satisfying meal; all the episodes are more or less agreeable, but as a whole it lacks a knockout punch, one dynamite sequence that will galvanize viewers.
    • 47 Metascore
    • 50 Todd McCarthy
    A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.

Top Trailers