Todd McCarthy
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For 1,426 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 2.4 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Youth
Lowest review score: 0 Showgirls
Score distribution:
1,426 movie reviews
    • 75 Metascore
    • 50 Todd McCarthy
    In trying to merge this alarmist theme with an old-fashioned murder mystery, the filmmakers throw at least one plot-twist sucker-punch too many, leaving the viewer with an “Oh, come on” reaction to the entire film.
    • 52 Metascore
    • 50 Todd McCarthy
    Simultaneously contrived and genuinely felt.
    • 43 Metascore
    • 50 Todd McCarthy
    Has absolutely nothing to say about its characters and their lamentable actions.
    • 59 Metascore
    • 50 Todd McCarthy
    The demoralizing slide of the relationship between Francois Truffaut and Jean-Luc Godard, from artistic comrades-in-arms during the thrilling creation of the nouvelle vague to name-calling enemies from the early '70s onward, is charted in overly academic and constricted fashion in Two in the Wave.
    • 37 Metascore
    • 50 Todd McCarthy
    This quite mediocre spawned-from-television feature feels like a Jesus film designed primarily for true believers, meaning that the faith-based public that has already been put on alert by seal-of-approval-dispensing church leaders that this is a film to see will make the Fox release into a significant Heartland attraction.
    • 66 Metascore
    • 50 Todd McCarthy
    What they have done is taken a few second-hand ideas from noir and speculative fiction and mixed them in occasionally striking ways, even if, in the end, the result isn't all that much fun.
    • 52 Metascore
    • 50 Todd McCarthy
    Something less than monumental, The Monuments Men wears its noble purpose on its sleeve when either greater grit or more irreverence could have put the same tale across to modern audiences with more punch and no loss of import.
    • 47 Metascore
    • 50 Todd McCarthy
    An attempt to merge a semi-jokey buddy movie with a more realistic account of cops' messy private lives, Hollywood Homicide falls short on both counts.
    • 52 Metascore
    • 50 Todd McCarthy
    As much a trifle as its title suggests, My Blueberry Nights sees Hong Kong stylist Wong Kar Wai applying his characteristic visual and thematic doodles to a wispy story of lovelorn Yanks.
    • 49 Metascore
    • 50 Todd McCarthy
    It all ends up being a half-hour too much of a just okay thing.
    • 53 Metascore
    • 50 Todd McCarthy
    For all its clever design, beguiling creatures and witty actors, the picture feels far more conventional than it should; it's a Disney film illustrated by Burton, rather than a Burton film that happens to be released by Disney.
    • 37 Metascore
    • 50 Todd McCarthy
    In a role that Tom Hanks might have played a decade or so ago, Perry is pretty bland and doesn't provide any hints as to why Alex is so emotionally stymied.
    • 47 Metascore
    • 50 Todd McCarthy
    Pfeiffer tackles the part with obvious dedication, but she's thwarted from the get-go by the heavily proscribed nature of the role as written.
    • 55 Metascore
    • 50 Todd McCarthy
    Shortchanging traditional animation by literalizing it while robbing actors of their full range of facial expressiveness, the performance-capture technique favored by director Robert Zemeckis looks more than ever like the emperor's new clothes in Disney's A Christmas Carol.
    • 56 Metascore
    • 50 Todd McCarthy
    The souffle falls a little flat in The Ladykillers, a Coen brothers black comedy in which the humor seems arch and narrative momentum doesn't kick in until the final third.
    • 37 Metascore
    • 50 Todd McCarthy
    A woefully predictable imperiled-yuppie-family-under-siege suspenser that hardly seems worth the attention of its relatively high-profile participants.
    • 55 Metascore
    • 50 Todd McCarthy
    Feels slight and pretty ordinary by the end, with no edge or compelling insights, just a reasonable feel for teen attitudes and banter.
    • 44 Metascore
    • 50 Todd McCarthy
    A partly smart, mostly dumb addition to the teen horror sweepstakes -- smart in how it neatly catches the petty, hurtful, sexy and druggy aspects of high school life, dumb in how it makes absolutely no sense once its resolution is known.
    • 44 Metascore
    • 50 Todd McCarthy
    Half-intriguing, half-tedious.
    • 71 Metascore
    • 50 Todd McCarthy
    Director David Gordon Green has created some fresh, penetrating, beautifully drawn scenes of one-on-one intimacy…But some of what surrounds these interludes is variously misguided, fuzzy and borderline pretentious.
    • 59 Metascore
    • 50 Todd McCarthy
    Well-wrought individual scenes and sharply focused acting provide Rebecca Miller's third feature with a measure of gravity, but too much abrupt, even melodramatic behavior and undigested psychological matter leave nagging dissatisfactions.
    • 45 Metascore
    • 50 Todd McCarthy
    Feels like a film that should have been made at least 25 years ago. Or made as a period piece. Heavy, doom-laden and, unfortunately, entirely predictable.
    • 65 Metascore
    • 50 Todd McCarthy
    The Client is a satisfactory, by-the-numbers child-in-jeopardy thriller that will fill the bill as a very commercial hot weather popcorn picture.
    • 68 Metascore
    • 50 Todd McCarthy
    Nowhere to be found is any dramatic surprise, heightening of the pulse or genuine pulling of heartstrings. Gary Winick's direction consists of button pushing, and the mechanics are palpable at every step.
    • 50 Metascore
    • 50 Todd McCarthy
    Even with the addition of new characters, such as the ones voiced by Brad Pitt and Matt Damon, George Miller's animated sequel just isn't very funny.
    • 65 Metascore
    • 50 Todd McCarthy
    Despite its undeniably pure and earnest intent, Solaris is equally undeniably an arid, dull affair that imposes and maintains a huge distance between the viewer and what happens onscreen.
    • 71 Metascore
    • 50 Todd McCarthy
    Although the humor helps, the Groundhog Day-like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster's wheel, going round and round, over and over again.
    • 56 Metascore
    • 50 Todd McCarthy
    Compared with high-powered action specialists like James Cameron, director Charles Russell seems content to accomplish just one thing per shot, getting the essentials on the screen but creating no special dynamic or look.
    • 53 Metascore
    • 50 Todd McCarthy
    There is a sense of bloat and where-do-we-go-from here aimlessness to this unconscionably protracted undertaking.
    • 52 Metascore
    • 50 Todd McCarthy
    Nicely cast and made with as much conviction as can be brought to something so intrinsically formulaic.
    • 69 Metascore
    • 50 Todd McCarthy
    The film is offbeat, silly, disarming and loopy all at the same time, and viewers will decide to ride with that or just give up on it, according to mood and disposition.
    • 65 Metascore
    • 50 Todd McCarthy
    More than even the most faithful of the earlier episodes, this film feels devoted above all to reproducing the novel onscreen as closely as possible, an impulse that drags it toward ponderousness at times and rather sorely tests the abilities of the young actors to hold the screen entirely on their own, without being propped up by the ever-fabulous array of character actors the series offers.
    • 61 Metascore
    • 50 Todd McCarthy
    Anthony and Joe Russo place too much faith in the ability of their talented thesps to carry the day over precariously thin material.
    • 60 Metascore
    • 50 Todd McCarthy
    Although arresting in spots, it falls far short of bringing out the full values of the play, and doesn't approach the emotional resonance of Franco Zeffirelli's immensely popular 1968 screen version.
    • 46 Metascore
    • 50 Todd McCarthy
    For those always on the lookout for the "funny" Allen, this one definitely has its moments, but too much of the picture is flat, dispiriting and frankly unbelievable in fundamental ways that defy the granting of poetic license.
    • 40 Metascore
    • 50 Todd McCarthy
    Routine, superficial manhunt stuff.
    • 50 Metascore
    • 50 Todd McCarthy
    A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.
    • 65 Metascore
    • 50 Todd McCarthy
    When Coppola finds creative nirvana, he frequently has trouble delivering the full goods. Tetro represents something of a middle ground in that respect.
    • 37 Metascore
    • 50 Todd McCarthy
    A moderately amusing but very uneven revisionist adventure with franchise and theme park intentions written all over it...This attempt by Verbinski and producer Jerry Bruckheimer to plant the flag for another Pirates of the Caribbean-scaled series tries to have it too many ways tonally, resulting in a work that wobbles and thrashes all over the place as it attempts to find the right groove.
    • 57 Metascore
    • 50 Todd McCarthy
    Comes across in muted fashion, with uninvolving characters and lack of genuine excitement or fright creating a second-rate, second-hand feel.
    • 42 Metascore
    • 50 Todd McCarthy
    Pfister, who, like his mentor Nolan, adamantly continues to shoot on film (not digital), shows a sure hand at staging scenes, creating visuals and setting a tone -- if only all the diverse elements here fit comfortably under the same tent.
    • 69 Metascore
    • 50 Todd McCarthy
    Malick's exalted visuals and isolated metaphysical epiphanies are ill-supported by a muddled, lurching narrative, resulting in a sprawling, unfocused account of an epochal historical moment.
    • 50 Metascore
    • 50 Todd McCarthy
    Individual scenes in actor Justin Theroux's directorial debut possess a certain flair, but the central issue on which the story turns -- how obnoxious and mean-spirited can you be and still get someone to love you? -- presents a forbidding obstacle.
    • 57 Metascore
    • 50 Todd McCarthy
    Mismatched marriage of offbeat character study and unimaginative horror riffs. Most compelling element by far is Bruce Campbell's inspired performance as a nursing home patient who insists he is the real Elvis Presley.
    • 56 Metascore
    • 50 Todd McCarthy
    Sports some tasty scenes, mostly in the first half, but also pushes 007 into CGI-driven, quasi-sci-fi territory that feels like a betrayal of what the franchise has always been about.
    • 58 Metascore
    • 50 Todd McCarthy
    The sensitive macho Schoenaerts is pretty much center-screen throughout this sleekly made suspense piece based on a script more loaded with holes than the numerous bad guys he either shoots or stabs to death.
    • 35 Metascore
    • 50 Todd McCarthy
    A pale reworking of its predecessor.
    • 61 Metascore
    • 50 Todd McCarthy
    Like his previous efforts, Jarmusch's sidelong take on Western conventions relies upon quirky tone, hipsterish performances and a highly refined visual style to put it over.
    • 42 Metascore
    • 50 Todd McCarthy
    This franchise-hungry champion of the underdog brings no sense of fun to his pursuit of bad guys; it's just the fate he's stuck with.
    • 46 Metascore
    • 50 Todd McCarthy
    As an exercise in style, it's diverting enough, but these mean streets are so well traveled that it takes someone like Eva Green to make the detour through them worth the trip.
    • 46 Metascore
    • 50 Todd McCarthy
    The Basketball Diaries is a weak-tea rendition of Jim Carroll's much-admired cult tome about his teenage drug addiction. Leonardo DiCaprio's committed lead performance deserves a better context than this gloss on the source material.
    • 56 Metascore
    • 50 Todd McCarthy
    The Rum Diary remains a relatively mild diversion, not at all unpleasant but neither compelling nor convulsive.
    • 41 Metascore
    • 50 Todd McCarthy
    A junior-league "Superbad" with an aftertaste of "The Pacifier," Drillbit Taylor is a just passable pubescent comedy with a modest laugh count by Apatow factory standards.
    • 63 Metascore
    • 50 Todd McCarthy
    Penn's magnetism and hesitant line delivery create what interest there is, although the whole picture suffers from a central figure who can never get it together on any level.
    • 32 Metascore
    • 50 Todd McCarthy
    Once you realize the film is just going to be a string of encomiums against a backdrop of frantically edited archival material in which few shots are allowed to stay onscreen longer than three seconds, it's clear that no meaningful analysis of the woman's career or political agenda will be forthcoming.
    • 35 Metascore
    • 50 Todd McCarthy
    With Melissa McCarthy playing a one-woman demolition team who, for 95 percent of the running time, is a genuine affront to nature, there are unavoidably some laughs here, although the gifted comic actor got more of them in less screen time in her previous films than she does in this starring role.
    • 49 Metascore
    • 50 Todd McCarthy
    Visually, the film is without flair or ambition, conveying no sense of atmosphere or mood. But the performances put it over.
    • 48 Metascore
    • 50 Todd McCarthy
    Earnest and well-intentioned.
    • 50 Metascore
    • 50 Todd McCarthy
    A superficially diverting but substance-free concoction, a would-be thriller as evanescent as a magic trick and one that develops no suspense or rooting interest because the characters possess all the substance of invisible ink.
    • 63 Metascore
    • 50 Todd McCarthy
    Dazzlingly designed and staged in a theatrical setting so as to suggest that the characters are enacting assigned roles in life, this tight and pacy telling of a 900 page-plus novel touches a number of its important bases but lacks emotional depth, moral resonance and the simple ability to allow its rich characters to experience and drink deeply of life.
    • 58 Metascore
    • 50 Todd McCarthy
    The imaginatively illustrated but precariously precious film offers up a string of minor pleasures but never becomes more than moderately amusing or involving.
    • 59 Metascore
    • 50 Todd McCarthy
    Lacks the special creative spark needed to lift it to an uncommon imaginative level.
    • 58 Metascore
    • 50 Todd McCarthy
    An attractively designed but narratively challenged, one-note film.
    • 55 Metascore
    • 50 Todd McCarthy
    Laura Linney’s beautiful performance is most of the story in p.s.
    • 55 Metascore
    • 50 Todd McCarthy
    The picture serves up intermittent pleasures but is too raggedy and laid-back for its own good, its images evaporating nearly as soon as they hit the screen.
    • 43 Metascore
    • 50 Todd McCarthy
    What might have been an effective fantasy if handled with sophistication and insouciance is instead weighed down by ponderous pacing, overstuffed production values and an instance of miscasting.
    • 57 Metascore
    • 50 Todd McCarthy
    An intriguingly plotted mystery that unfortunately forgets to put the noir in film noir. A drab, pale-looking affair without a trace of visual style, this cross-country pursuit yarn fights a losing battle to sustain viewer attention via narrative alone, so much does it flounder for lack of imagistic flair.
    • 63 Metascore
    • 50 Todd McCarthy
    A game and winning performance by Melinda Page Hamilton is the only saving grace.
    • 43 Metascore
    • 50 Todd McCarthy
    Shows the sort of edge in places that will be appreciated by horror fanboys of all ages, but is mostly too overwrought and over-the-top.
    • 62 Metascore
    • 50 Todd McCarthy
    Aside from spasms of brutal violence, however, there's nothing rousing or new here.
    • 54 Metascore
    • 50 Todd McCarthy
    The Pact demonstrates both why people respond to horror and why it's so routinely scorned.
    • 39 Metascore
    • 50 Todd McCarthy
    At best an honorable failure, an intelligent and ambitious picture that crucially lacks dramatic flair and emotional involvement.
    • 50 Metascore
    • 50 Todd McCarthy
    Predictable, cutesy and nowhere near hot-blooded enough.
    • 37 Metascore
    • 50 Todd McCarthy
    As easy on the eyes and ears as it is embalmed from any dramatic point of view.
    • 64 Metascore
    • 50 Todd McCarthy
    Despite her (Judd's) efforts and those of a generally talented cast, picture just pokes along and offers nothing out of the ordinary in terms of drama, characterization or insight. Judd's presence notwithstanding, this one would be more at home on small than on big screens.
    • 53 Metascore
    • 50 Todd McCarthy
    Jig
    The film's inability to illuminate the finer points of the rigid form, to define what separates the great from the good, proves frustrating for the outsider.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Todd McCarthy
    While After the Sunset is never exactly dull and is smartly cut to a brief running time, it never quickens the pulse.
    • 62 Metascore
    • 50 Todd McCarthy
    More evident than ever the film is inherently a deeply flawed work that was far from fully realized in both script and shooting.
    • 71 Metascore
    • 50 Todd McCarthy
    A study of the urban dope-dealing culture and its toll on everyone who comes in contact with it, the picture has an insider's feel that is constantly undercut by the filmmaker's impulse to editorialize.
    • 61 Metascore
    • 50 Todd McCarthy
    Director Christine Jeffs, who previously helmed "Rain" and "Sylvia," tries to strike a balance between the yarn's dark currents and offbeat comedy, but the result is often uneasy, with the humor receding as things progress.
    • 48 Metascore
    • 50 Todd McCarthy
    Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe.
    • 48 Metascore
    • 50 Todd McCarthy
    Lives up to its name by serving up a fraction of what audiences are used to getting in this department from PixarPixar and DreamWorks -- little originality, little humor and little ingratiating characterization.
    • 62 Metascore
    • 50 Todd McCarthy
    A credibly drawn central character is trapped inside a half-cooked dramatic stew in Hello I Must Be Going.
    • 47 Metascore
    • 50 Todd McCarthy
    The major jolt is saved for the very end but, like much else in the film, it is overexplained and underlined when more simplicity and quiet would have provided the revelation with the power of a depth charge.
    • 65 Metascore
    • 50 Todd McCarthy
    A humdrum straight line of a film, Monsters University never surprises, goes off in unexpected directions or throws you for a loop in the manner of the best Pixar stories. Nor does it come close to elating through the sheer imagination of its conceits and storytelling.
    • 64 Metascore
    • 50 Todd McCarthy
    Unfortunately, Mockingjay — Part 1 has all the personality of an industrial film. There's not a drop of insolence, insubordination or insurrection running through its veins; it feels like a manufactured product through and through, ironic and sad given its revolutionary theme.
    • 59 Metascore
    • 50 Todd McCarthy
    Despite numerous surface pleasures, including a beguiling pop soundtrack and presence of rising star Cillian Murphy in the lead role, dramatic shortcomings spell a mixed overall reception.
    • 38 Metascore
    • 50 Todd McCarthy
    As a young lady who can't say no to a beautiful dress or accessory, Isla Fisher is not to be denied, and her irrepressible comic personality overcomes a number of the film's impediments.
    • 70 Metascore
    • 50 Todd McCarthy
    A Judd Apatow clone that's one of the few recent R-rated raunch fests the ubiquitous auteur of larky crudeness actually had nothing to do with, I Love You, Man cranks out the kind of lowball humor that makes you gag on your own laughs.
    • 52 Metascore
    • 50 Todd McCarthy
    Although involving, this remake of a recent French film never reaches the anticipated heights of excitement and suspense.
    • 35 Metascore
    • 50 Todd McCarthy
    There's something about novelist Stephenie Meyer that induces formerly interesting directors to suddenly make films that are slow, silly and soporific.
    • 48 Metascore
    • 50 Todd McCarthy
    While the surfaces, backgrounds and sense of constant motion are authentic to their tinselly cores, what goes on among the fictional participants resembles gag-reliant improv routines that haven’t been entirely worked out.
    • 41 Metascore
    • 50 Todd McCarthy
    The older the actors here the better they are, as pros like Paul Giamatti and Damian Lewis have it all over low-voltage young leads Douglas Booth and Hailee Steinfeld. Relativity will be lucky to milk anything more than a moderate take from this pretty but unexciting enactment.
    • 57 Metascore
    • 50 Todd McCarthy
    Moderately inspiring in the way such true-life stories of "the indomitable human spirit" are always constructed to be.
    • 53 Metascore
    • 50 Todd McCarthy
    Director Sturla Gunnarsson seems aware of the savagery intrinsic to the story, but is unable to mine it deeply, proving too genteel in the end to make a genuinely creepy or disturbing film.
    • 38 Metascore
    • 50 Todd McCarthy
    The feel of a direct-to-video title that's been upgraded to theatrical status in the hopes of wringing a few extra bucks out of it and improving its not-too-distant homevid marketability.
    • 45 Metascore
    • 50 Todd McCarthy
    A broad and obvious approach to ambiguous material that's virtually all plot mechanics with little nuance or characterization.
    • 42 Metascore
    • 50 Todd McCarthy
    Takes itself so seriously that it never has fun with its shopworn genre elements.

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