Todd McCarthy
Select another critic »
For 1,360 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 0 Being Human
Score distribution:
1,360 movie reviews
    • 25 Metascore
    • 40 Todd McCarthy
    Singleton's action thriller has a decent sense of propulsion but, after a faintly intriguing start, the convoluted plot mechanics overwhelm everything else, making you feel you're watching a detailed blueprint for a movie, and an increasingly far-fetched one in the bargain.
    • 51 Metascore
    • 40 Todd McCarthy
    This wan, mundane coming-of-ager focuses on kids enacting a pale imitation of '50s car-centered, "American Graffiti"-style time-killing, with the impediment of exceptionally dull dialogue.
    • 37 Metascore
    • 40 Todd McCarthy
    This is a relentlessly mechanical piece of work that will not or cannot take the imaginative leaps to yield even fleeting moments of awe, wonder or charm.
    • 45 Metascore
    • 40 Todd McCarthy
    The problem with the script by Susser and David Michod, working from a story by Brian Charles Frank, is that Hesher's uncouth behavior is so aggressively pushed to single-minded, crudely exploitative effect.
    • 61 Metascore
    • 40 Todd McCarthy
    All the interest and good will built up by the sharply conceived preliminaries is washed away in a succession of scenes that feel crushingly routine and generic, not to mentioned guided by ideological urges.
    • 44 Metascore
    • 40 Todd McCarthy
    A miscast James Franco and a lack of charm and humor doom Sam Raimi's prequel to the 1939 Hollywood classic. Oz the Wimpy and Weak would be more like it.
    • 54 Metascore
    • 40 Todd McCarthy
    Not the worst but is very far from the best film the star has made in his career.
    • 54 Metascore
    • 40 Todd McCarthy
    Allen the writer-director has gone tone-deaf this time around, somehow not realizing that the nonstop prattling of the less-than-scintillating characters almost never rings true.
    • 30 Metascore
    • 40 Todd McCarthy
    You almost feel sorry for Tyler Perry, stepping out of his own universe for the first time to try to expand his range and finding himself in something as thoroughly dismal as Alex Cross.
    • 58 Metascore
    • 40 Todd McCarthy
    After a strong run of films during the past decade, David Cronenberg blows a tire with Cosmopolis.
    • 26 Metascore
    • 40 Todd McCarthy
    This middle portion of an intended trilogy will only play to the converted who have already seen Part I, and then only to the most gullible among them who will swallow mediocre filmmaking for the sake of ideology.
    • 38 Metascore
    • 40 Todd McCarthy
    The comedy just isn't that funny and the enterprise never finds an exact tone.
    • 44 Metascore
    • 40 Todd McCarthy
    Director Rawson Marshall Thurber adequately manages the mechanics demanded here but adds no finesse or grace notes.
    • 39 Metascore
    • 40 Todd McCarthy
    A female solidarity adultery comedy that's three parts embarrassing farce to one part genuinely comic discharge.
    • 57 Metascore
    • 40 Todd McCarthy
    Spielberg is such a talented director it’s a shame to see him lose all sense of subtlety and nuance.
    • 40 Metascore
    • 40 Todd McCarthy
    Our Day Will Come speeds along for a while on the fumes of its own audacity until it can no longer hide the lack of coherent ideas in the tank.
    • 30 Metascore
    • 40 Todd McCarthy
    A highly homogenized and sanitized remake that's little better than its 1981 predecessor.
    • 35 Metascore
    • 40 Todd McCarthy
    The visuals are undeniably dreamy, but they mostly seem borrowed from other filmmakers’ dreams.
    • 54 Metascore
    • 40 Todd McCarthy
    Magic in the Moonlight does have a not-disagreeable expensive-vacation vibe to it. But the one-dimensional characters are mostly ones you’d want to avoid rather than spend a holiday with.
    • 75 Metascore
    • 40 Todd McCarthy
    The mash-up of elements combine with a singularly unpleasant roster of characters to create a work of genuinely off-putting quirkiness.
    • 51 Metascore
    • 40 Todd McCarthy
    As detrimental as anything to the film’s effectiveness are the visuals, which are murky, lack compositional interest and do the actors no favors.
    • 48 Metascore
    • 40 Todd McCarthy
    Unfortunately, the film never begins to reveal what's really going on inside Joe Albany.
    • 70 Metascore
    • 40 Todd McCarthy
    As usual, there are only fragments of thoughts, nothing is developed, and it will be left only to the tiny band of die-hard Godardians to try to make any meaningful sense of the disparate fragments stitched together here.
    • 54 Metascore
    • 40 Todd McCarthy
    Unfortunately, Barthes brings nothing new to the familiar story.
    • 49 Metascore
    • 30 Todd McCarthy
    Lars von Trier cuts a big fat art-film fart with Antichrist. As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images.
    • 31 Metascore
    • 30 Todd McCarthy
    Shrill, undermotivated, feature-length catfight.
    • 33 Metascore
    • 30 Todd McCarthy
    Well made but unlikable and dramatically absurd picture.
    • 39 Metascore
    • 30 Todd McCarthy
    Wallow in Hollywood hipster self-absorption.
    • 58 Metascore
    • 30 Todd McCarthy
    The story of a veritable devil who comes to test and destroy a family of faith, The King is a noxious film morally and an aggravating one dramatically.
    • 30 Metascore
    • 30 Todd McCarthy
    A flighty and unnecessary send-up of reality television.
    • 34 Metascore
    • 30 Todd McCarthy
    Once the revisionist frisson of a black Jesus, not to mention Mary, Joseph and Judas, has worn off, one is stuck with more mundane matters such as story dynamics, visual style and character verisimilitude, much to the misfortune of the audience.
    • 44 Metascore
    • 30 Todd McCarthy
    Rarely has a picture been so self-consciously designed to be a culturally meaningful touchstone, and fallen so woefully short, as Southland Tales.
    • 49 Metascore
    • 30 Todd McCarthy
    The effects are snazzy, even if they pass by quite quickly, and there's enough going on to keep audiences watching, if not entirely happy. Smith, Theron and Bateman capably handle the main roles, but such is the skimpiness of the scenario that no further characters make any impact.
    • 51 Metascore
    • 30 Todd McCarthy
    A stillborn would-be comedy.
    • 31 Metascore
    • 30 Todd McCarthy
    An indigestible gumbo of Southern Gothic ingredients seasoned with snake oil, biblical hash and thoroughly unpalatable spice.
    • 20 Metascore
    • 30 Todd McCarthy
    Conservatives score a few political points but aren't very funny in An American Carol, a cheesy spitball directed at the very large target of a Michael Moore-like filmmaker.
    • 35 Metascore
    • 30 Todd McCarthy
    Cleverly titled but noxious British comedy.
    • 38 Metascore
    • 30 Todd McCarthy
    The way the picture dwells almost exclusively on cinematically exploitable elements -- gangbanger crime, prostitution, honor killing, terrorism paranoia -- gives it a sordid patina that even the classy, able thesps can't offset.
    • 24 Metascore
    • 30 Todd McCarthy
    A shrill, mechanical comedy.
    • 19 Metascore
    • 30 Todd McCarthy
    On a moment to moment basis, however, picture continuously skirts very close to the ludicrous in its advanced-stage grimness and outre forms of torture foreplay.
    • 37 Metascore
    • 30 Todd McCarthy
    The novelty value is completely gone the second time around.
    • 41 Metascore
    • 30 Todd McCarthy
    An exercise in improv-derived filmmaking that simply proves once again that there's no substitute for a good script.
    • 32 Metascore
    • 30 Todd McCarthy
    A shrill, strained and shallow riff on a tired idea.
    • 49 Metascore
    • 30 Todd McCarthy
    There is no one to become attached to in The Four Feathers, no interest or sympathies appealed to or engaged.
    • 46 Metascore
    • 30 Todd McCarthy
    Feels like a film from several years ago, one of the many made in the wake of "Pulp Fiction" that tried and failed to be as clever as its progenitor.
    • 31 Metascore
    • 30 Todd McCarthy
    A remarkably mirthless and inept romantic comedy.
    • 61 Metascore
    • 30 Todd McCarthy
    The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.
    • 37 Metascore
    • 30 Todd McCarthy
    With a far-fetched script that might barely have passed muster at the B units in the old studio days, this Dimension release will command a certain up-front attention due to cast topliners.
    • 62 Metascore
    • 30 Todd McCarthy
    The submarine goes deep but the story never does in U-571, a good old-fashioned WWII picture that is exciting in only the most superficial way.
    • 44 Metascore
    • 30 Todd McCarthy
    Another tale of out-of-it working-class men cooking up a harebrained scheme to improve their lot in life.
    • 45 Metascore
    • 30 Todd McCarthy
    Arid, self-consciously arty and emotionally uninvolving.
    • 64 Metascore
    • 30 Todd McCarthy
    Sure to turn off general viewers due to its emotional inaccessibility, multitude of narrative problems and preoccupation with a torture Web site.
    • 36 Metascore
    • 30 Todd McCarthy
    Passably interesting psychological study of emotionally wounded characters until it commits dramatic suicide by showing its true colors as a tricked-up "Fatal Attraction" wannabe.
    • 55 Metascore
    • 30 Todd McCarthy
    This hokey thriller reps what one can only hope will be a one-of-a-kind hybrid between a World War II actioner and a ghost story outfitted with innumerable false-alarm shock cuts and shot with enough colored lights and filters to delight Baz Luhrmann.
    • 38 Metascore
    • 30 Todd McCarthy
    Screechily abrasive and sorely lacking in elements that engage the imagination.
    • 54 Metascore
    • 30 Todd McCarthy
    Defiantly uncommunicative picture.
    • 48 Metascore
    • 30 Todd McCarthy
    Universal’s attempt to find gold by bringing to new life one of the mustier items in its vaults is pure hokum and scarcely of the first order.
    • 42 Metascore
    • 30 Todd McCarthy
    A dreadfully dull, completely conventional story of a young wife's recuperation from being unceremoniously dumped, this is a by-the-numbers bit of emotional calculation without a single fresh, original or offbeat move in its system, apart from a nifty opening sequence.
    • 33 Metascore
    • 30 Todd McCarthy
    Has the distinction of being a major motion picture that's far less imaginative, and quite a bit more stupid, than the interactive game it's based on.
    • 46 Metascore
    • 30 Todd McCarthy
    Begins as though the filmmakers imagine that they're making a daringly anti-p.c. serio-comedy, but long before it's over, the picture is wearing its bleeding liberal heart all over its sleeve.
    • 43 Metascore
    • 30 Todd McCarthy
    An uncommonly dour and even grim action thriller that globetrots as diversely as a James Bond film but offers a very limited view politically, emotionally and dramatically.
    • 52 Metascore
    • 30 Todd McCarthy
    A noxious little tale of Wall Street types whose amorality knows no limit, Rick takes smarmy knowingness to ludicrous extremes.
    • 34 Metascore
    • 30 Todd McCarthy
    Speak a great deal, but they don't have much to say. A dull ensembler.
    • 47 Metascore
    • 30 Todd McCarthy
    Delivers only annoyance and impatience.
    • 32 Metascore
    • 30 Todd McCarthy
    The director doesn't display the spirit of a natural entertainer; while intellectual notions abound, he never grabs the audience by the hand to pull them into the tale emotionally.
    • 34 Metascore
    • 30 Todd McCarthy
    Nine very good actors are wasted, if not embarrassed, by the thoroughly unconvincing shenanigans perpetrated by first-time writer-director Michael Clancy, while a tenth -- Zooey Deschanel -- somehow manages to float ethereally above it all with her dignity intact.
    • 29 Metascore
    • 30 Todd McCarthy
    Goes down like sour eggnog on Christmas Eve.
    • 57 Metascore
    • 30 Todd McCarthy
    Its politics and dramatic line are familiar and far from convincing.
    • 54 Metascore
    • 30 Todd McCarthy
    Traditionalists and older viewers in general will scoff, while pop culture addicts will no doubt go with the flow.
    • 32 Metascore
    • 30 Todd McCarthy
    Star-driven, high-minded claptrap that, fatally, can't even rig a rooting interest in its central love story.
    • 58 Metascore
    • 30 Todd McCarthy
    Never comes close to making the case that its subject is worthy of the viewer's interest.
    • 30 Metascore
    • 30 Todd McCarthy
    This overwrought and egregiously self-serious thriller about the poisonous fruit borne of child abuse grows more ridiculous by the quarter-hour and is poised for a theatrical life span scarcely longer than that of its eponymous insect.
    • 25 Metascore
    • 30 Todd McCarthy
    Lusterless trifle.
    • 44 Metascore
    • 30 Todd McCarthy
    Just compare their superficiality to the complex characters in "From Here to Eternity" and what's missing here becomes terribly clear.
    • 47 Metascore
    • 30 Todd McCarthy
    Cronenberg is a master of creating and sustaining a mood of insinuating cool and dark allure, but while the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch.
    • 35 Metascore
    • 30 Todd McCarthy
    This is one of those high-concept pictures with a big windup and weak delivery.
    • 31 Metascore
    • 30 Todd McCarthy
    Blandness and lack of daring characterize nearly every minute of the very long two hours, which are marked by a high degree of professionalism at the service of little content.
    • 43 Metascore
    • 30 Todd McCarthy
    This butterfly just doesn't fly. Icy, surprisingly conventional and never truly convincing.
    • 44 Metascore
    • 30 Todd McCarthy
    An aggravating romance that runs only 78 minutes but ends not a moment too soon.
    • 47 Metascore
    • 30 Todd McCarthy
    The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
    • 29 Metascore
    • 30 Todd McCarthy
    As it thuds along from one wolf attack to the next, Catherine Hardwicke's first film since taking leave of Bella and her toothy friends adamantly refuses to provide any wit, humor or fun.
    • 37 Metascore
    • 30 Todd McCarthy
    Arriving eight years after the lame third installment in Dimension's profitable series, this seems like far too little way too late.
    • 48 Metascore
    • 30 Todd McCarthy
    Despite a couple of unconvincingly upbeat tacked-on moments at the end, Project X basically reads as nihilistic, as not believing in or standing for anything. Not even fun.
    • 33 Metascore
    • 30 Todd McCarthy
    This low-rent, R-rated "Rush Hour"-ish comic caper could have been several notches better with more charismatic leads and some dialogue upgrades but still would have felt like a genre hand-me-down.
    • 39 Metascore
    • 30 Todd McCarthy
    Embalming the simple and simplistic yarn in an amber glow that is all but suffocating and banishing from it any traces of humor and spontaneity, director Scott Hicks serves up this treacly tale with absolutely no trace of self-consciousness about the material's cliches or simple-mindedness.
    • 46 Metascore
    • 30 Todd McCarthy
    It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.
    • 49 Metascore
    • 30 Todd McCarthy
    A creaky haunted house that, once the big twist is revealed, makes very little sense at all.
    • 28 Metascore
    • 30 Todd McCarthy
    Unfortunately, John Moore has directed these sequences in a way that makes the incidents look so far-fetched and essentially unsurvivable that you can only laugh.
    • 49 Metascore
    • 30 Todd McCarthy
    They just don't make 'em like this anymore, and it's a good thing, too.
    • 36 Metascore
    • 30 Todd McCarthy
    What's actually up onscreen in this vaguely ambitious but tawdry melodrama falls into an in-between no-man's-land that endows it with no distinction whatsoever, a work lacking both style and insight into the netherworld it seeks to reveal.
    • 58 Metascore
    • 30 Todd McCarthy
    A film that seems drained of life and ideas rather than sustained by them.
    • 48 Metascore
    • 30 Todd McCarthy
    Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer.
    • 66 Metascore
    • 30 Todd McCarthy
    Crude, repetitive and rigorously single-minded, the popular actor’s writing and directing debut lays it all on a bit thick, as the few points the film has to make are underscored time and time again.
    • 74 Metascore
    • 30 Todd McCarthy
    Basically the film consists of a bunch of techies in white shirts and glasses laboriously discussing their views, exchanges you get the feeling the filmmaker thought would come off as humorous.
    • 36 Metascore
    • 30 Todd McCarthy
    Sex Tape is sexcruciating.
    • 39 Metascore
    • 30 Todd McCarthy
    It’s a waste of a good cast as well as a serious trip-wire for McCarthy, who may know what’s best for her talents but, on the evidence, needs a deft-handed outsider to make sure she’s maximizing them.
    • 45 Metascore
    • 30 Todd McCarthy
    The ‘70s recreation is reasonable -- there are plenty of vintage cars and pop tunes of the moment -- but the characters never register beyond the surfaces of the scenes despite being equipped with long-festering resentments and grudges.
    • 39 Metascore
    • 30 Todd McCarthy
    Homefront is sufficiently silly and low-down to be entertaining on a certain marginal level, but it wouldn't appear that those involved, with the possible exception of Franco, approached this with the idea that they might be making good trash; it looks too elaborate and costly for that and the script exhibits no self-aware humor.
    • 49 Metascore
    • 30 Todd McCarthy
    It’s impossible to buy into the film’s plea to be taken seriously at the end, just as the upbeat finale feels false.
    • 36 Metascore
    • 30 Todd McCarthy
    Far from the renegade, boundary-pushing, sexually explicit sensation that its makers have been suggesting, The Canyons is a lame, one-dimensional and ultimately dreary look at peripheral Hollywood types not worth anyone's time either onscreen or in real life.
    • 31 Metascore
    • 30 Todd McCarthy
    Aspiring transcendent love stories don't come much more claptrappy and unconvincing than Winter's Tale.
    • 55 Metascore
    • 30 Todd McCarthy
    An admirable idea in theory proves to be a real slog to sit through in Everyday.
    • 11 Metascore
    • 30 Todd McCarthy
    Has there ever been a Hollywood adaptation of a major novel as faithful and yet so misguided and downright strange as the three-part version of Ayn Rand's Atlas Shrugged that now comes to a conclusion with the third installment?
    • 9 Metascore
    • 20 Todd McCarthy
    Few pretty actresses have so thoroughly discarded their vanity in an outright vanity piece as Jenny McCarthy does in Dirty Love, so it's unfortunate for her this exercise in comic self-abnegation, which she wrote for herself, falls so awfully flat.
    • 39 Metascore
    • 20 Todd McCarthy
    Silk is a snooze. Vacuous, arid and terminally dull, this adaptation of Alessandro Baricco's freak bestseller hasn't a trace of real life or energy to it, and is hamstrung by a lethargic lead performance by Michael Pitt.
    • 25 Metascore
    • 20 Todd McCarthy
    Guy Ritchie shoots a blank with Revolver, which replays the low-life criminal shtick from his first two features with an ill-advised overlay of pretension. The action, attitude and wise-guy talk all feel moldy this time around.
    • 31 Metascore
    • 20 Todd McCarthy
    Reheating the ingredients can't disguise how stale they are, as setpiece after setpiece strains to whip up excitement, only to fall flat while reminding of previous sequences that did such things ever so much better.
    • 37 Metascore
    • 20 Todd McCarthy
    This is a sloppy stew in which the ingredients of battle action, murder mystery, little-kid sentiment and history lesson don't mix well.
    • 36 Metascore
    • 20 Todd McCarthy
    An endlessly sentimental fable about sacrifice and redemption that aims only at the heart at the expense of the head. Intricately constructed so as to infuriate anyone predominantly guided by rationality and intellect.
    • 45 Metascore
    • 20 Todd McCarthy
    A series that's provided a successful, moderately enjoyable ride up to now blows its tires, gasket and transmission on its way to flaming out in Fast & Furious.
    • 42 Metascore
    • 20 Todd McCarthy
    Much of the confusion, as well as the lack of dramatic rhythm or character development, results directly from Bay's cutting style, which resembles a machine gun stuck in the firing position for 2 and a half hours.
    • 46 Metascore
    • 20 Todd McCarthy
    Senselessly long at two-and-three-quarters hours and with a protracted climax that eradicates any goodwill established in the fastidious first couple of reels.
    • 32 Metascore
    • 20 Todd McCarthy
    A very earthbound comic fantasy, a racially flip-flopped "Heaven Can Wait" redo stuck in a purgatory with just enough meager laughs to keep it from a more fiery fate.
    • 49 Metascore
    • 20 Todd McCarthy
    Newman's charismatic, multishaded performance elevates the hodgepodge caper comedy a couple of notches above its preposterous plotting and self-consciously movieish texture.
    • 33 Metascore
    • 20 Todd McCarthy
    The sight and sound of Lawrence in fat-lady drag remains engaging throughout; script may often let him down, forcing him to keep things afloat almost single-handedly.
    • 39 Metascore
    • 20 Todd McCarthy
    Viewers who sit through Exit Wounds should at least do themselves the favor of staying for the end credits, which feature some truly funny off-color banter between Anderson and Arnold on the latter's ostensible talkshow.
    • 32 Metascore
    • 20 Todd McCarthy
    May hold some appeal for Latino auds in the Southwest but will fold after a couple of rounds in the big arena.
    • 56 Metascore
    • 20 Todd McCarthy
    CQ
    Roman Coppola's first film has sympathetic aims but is distressingly lacking in flair, style, wit or fun.
    • 34 Metascore
    • 20 Todd McCarthy
    As dull and arid as a hike through the desert.
    • 31 Metascore
    • 20 Todd McCarthy
    Strictly a minor-league late fall entry.
    • 32 Metascore
    • 20 Todd McCarthy
    A romantic comedy as lamely generic as its title.
    • 27 Metascore
    • 20 Todd McCarthy
    Awfully lame bigscreen debut for pop diva Britney Spears.
    • 30 Metascore
    • 20 Todd McCarthy
    Banal and trite where it could have been insightful and emotionally truthful, this Fox release is also notable for featuring the first disappointing performance by teen star Natalie Portman.
    • 27 Metascore
    • 20 Todd McCarthy
    A thick slice of bogus inspirational cheese that only makes itself look bad by recycling so many golden movie memories.
    • 15 Metascore
    • 20 Todd McCarthy
    A boner-headed comedy whose sense of gross-out humor is calculated rather than inspired.
    • 34 Metascore
    • 20 Todd McCarthy
    In outer space, no one can hear you scream -- of boredom.
    • 28 Metascore
    • 20 Todd McCarthy
    A hillbilly romantic comedy in which the hillbillies show up but the romance and comedy never do.
    • 24 Metascore
    • 20 Todd McCarthy
    A useless remake of Mike Hodges' 1971 British gangland cult classic.
    • 42 Metascore
    • 20 Todd McCarthy
    A staggeringly misguided stab at making the past come alive by people who have absolutely no feel for period filmmaking. Banal at best and laughable at worst.
    • 43 Metascore
    • 20 Todd McCarthy
    Animation is dull and characterless, and vocal talent has evidently received blanket direction to, when in doubt, shout.
    • 32 Metascore
    • 20 Todd McCarthy
    Evinces no interest in such niceties as credible dialogue, character motivation or forward momentum.
    • 45 Metascore
    • 20 Todd McCarthy
    Director Jon Turteltaub's insistence upon hammering every point home with giant closeups and relentless musical underlining makes this insufferably cloying and sickly sweet.
    • 41 Metascore
    • 20 Todd McCarthy
    Johnny Depp's impersonation of the Thompson figure is effective up to a point, but it's hard to imagine any segment of the public embracing this off-putting, unrewarding slog through the depths of the drug culture.
    • 24 Metascore
    • 20 Todd McCarthy
    A perfectly dreadful film.
    • 30 Metascore
    • 20 Todd McCarthy
    A shamelessly manipulative commercial on behalf of national health insurance.
    • 46 Metascore
    • 20 Todd McCarthy
    Shrill, strenuous and entirely without charm, Ron Howard's attempt at a Christmas classic is an elaborately wrapped empty box that will fool many people into buying it but will not greatly please its recipients.
    • 34 Metascore
    • 20 Todd McCarthy
    Spawn is a moodily malevolent, anything-goes revenge fantasy that relies more upon special visual and digitally animated effects for its intended appeal than any comics-derived sci-fier to date.
    • 44 Metascore
    • 20 Todd McCarthy
    Some of the filmmaker's keen intelligence remains on display, but only in fractured and often obscure form, and pic overall gives the impression of a giant expurgation of negative feelings about things in general rather than a carefully articulated brief on recognizable subjects.
    • 29 Metascore
    • 20 Todd McCarthy
    A muted coming-of-age piece that more often reflects rusty movie conventions than it freshly observes real-life struggles.
    • 37 Metascore
    • 20 Todd McCarthy
    Staggeringly misjudged in virtually every department, from the wannabe effervescent script to Johnny Depp's dopey hairdo.
    • 13 Metascore
    • 20 Todd McCarthy
    Supplied with uniformly vapid dialogue, the characters come off like a bunch of twits.
    • 25 Metascore
    • 20 Todd McCarthy
    This is a second-rate special effects-dominated 3D entry that will join several prominent would-be blockbusters that need not be mentioned on the summer junk heap.
    • 45 Metascore
    • 20 Todd McCarthy
    The story is told in a hammer-on-anvil manner that evinces no gift for social satire or sharp cultural insight.
    • 22 Metascore
    • 20 Todd McCarthy
    If The Legend of Hercules were just a little more inept or over-the-top, it might have been ridiculous fun. As it is, unfortunately, Harlin embraces the mediocrity of the screenplay with a dour straight face, draining it of any enjoyably camp possibilities.
    • 35 Metascore
    • 10 Todd McCarthy
    A Eurotrashy vidgame knockoff that misses its target by a mile. Numbingly unthrilling as it lurches from one violent encounter to another, the pic's dark roots in an electronic, non-dramatic medium are plain to see, and unsuspecting gamers lured to theaters will soon wish they were back home participating in the action themselves.
    • 17 Metascore
    • 10 Todd McCarthy
    Ludicrous in the extreme, the picture easily snatches from "Revolution" the prize as Al Pacino's career worst.
    • 16 Metascore
    • 10 Todd McCarthy
    Feels like the most shameless effort yet in the renewed exploitation of the youth market.
    • 33 Metascore
    • 10 Todd McCarthy
    More than an embarrassment, it's an insult.
    • 33 Metascore
    • 10 Todd McCarthy
    Dismally unfunny...It's clear from the first few minutes that the performers are fighting an uphill battle against lame material, and the situation never improves as pic labors on.
    • 31 Metascore
    • 10 Todd McCarthy
    Has the distinction of being one of the most amateurish features ever released by a major studio.
    • 39 Metascore
    • 10 Todd McCarthy
    Dreary, lachrymose and incredibly poky tear-jerker that makes its audience wait and wait and wait until nearly the last second for its jerking.
    • 25 Metascore
    • 10 Todd McCarthy
    A white-trash black comedy, a caustic working-class whodunit in which the solution to the murder mystery takes a distant back seat to countless barbs and jibes tossed in the direction of the mostly imbecilic cast of characters.
    • 20 Metascore
    • 10 Todd McCarthy
    Takes a prominent place along with "Tomcats," "Say It Isn't So," "Saving Silverman" and "Get Over It" on the list of reasons why raucous teen farce is headed six feet under.
    • 61 Metascore
    • 10 Todd McCarthy
    Debuting writer-directors Larry and Andy Wachowski come off like Coen brothers wannabes with no sense of humor.
    • 37 Metascore
    • 10 Todd McCarthy
    A minnow of a movie. A drear moment in the careers of all concerned.
    • 31 Metascore
    • 10 Todd McCarthy
    This perfectly dreadful romantic action comedy manages to embarrass its three eminently attractive leading players in every scene, making this an automatic candidate for whatever raspberries or golden turkeys or other dubious awards may be given in future for the films of 2012.
    • 20 Metascore
    • 10 Todd McCarthy
    One of the most obnoxious and least necessary animated films of the century thus far.
    • 63 Metascore
    • 10 Todd McCarthy
    This lushly and pretentiously made drama about a young American whose worst instincts are unleashed during a stay in Paris endeavors to entice with details of the seedy underworld of La Pigalle but is a turn-off in almost every respect.
    • 16 Metascore
    • 0 Todd McCarthy
    Impossibly vulgar, tawdry and coarse, this much-touted major studio splash into NC-17 waters is akin to being keelhauled through a cesspool, with sharks swimming alongside.
    • 33 Metascore
    • 0 Todd McCarthy
    Being Human never comes alive. This stillborn series of little fables is so flat and ill-conceived that it could convince the uninitiated that neither Robin Williams nor the highly idiosyncratic Scottish writer-director Bill Forsyth had any talent.