Todd McCarthy
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For 1,367 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 2.7 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Wrestler
Lowest review score: 0 Being Human
Score distribution:
1,367 movie reviews
    • 71 Metascore
    • 80 Todd McCarthy
    Occupying a dramatic, philosophical and sensory twilight zone that casts a considerable spell, this intensely focused piece soars not only on the director's precision-tooled style but also on the outstanding interplay between leads Tom Cruise and Jamie Foxx.
    • 67 Metascore
    • 80 Todd McCarthy
    An impeccably made and genuinely moving account of how Scottish author J.M. Barrie came to write "Peter Pan."
    • 75 Metascore
    • 80 Todd McCarthy
    This intelligently made picture is artful but not arty, political without being didactic.
    • 55 Metascore
    • 80 Todd McCarthy
    A roundly entertaining romantic comedy, Love Actually is still nearly as cloying as it is funny…its cheeky wit, impossibly attractive cast and sure-handed professionalism are beguiling.
    • 52 Metascore
    • 80 Todd McCarthy
    A deliriously trashy, exuberantly vulgar, lavishly appointed exploitation picture, this weird combo of road-kill movie and martial-arts vampire gorefest is made to order for the stimulation of teenage boys.
    • 54 Metascore
    • 80 Todd McCarthy
    The stylistic fun Stone has in dramatizing this crime of passion thoroughly revitalizes the well-worked genre.
    • 74 Metascore
    • 80 Todd McCarthy
    Narrative complexity and momentum make this a true cinematic equivalent of an absorbing page-turner.
    • 66 Metascore
    • 80 Todd McCarthy
    While skillfully crafted to maximize visual excitement and dramatic fireworks through the first hour, relentlessly paced pic sports a fancy new package for a rather shopworn doomsday scenario that unravels to increasingly familiar effect as the finale breathlessly approaches.
    • 65 Metascore
    • 80 Todd McCarthy
    Most crucially, Brosnan makes the grade as 007. He handles the action capably and gets the standard quips out in a commendably straightforward way that's wry but not dismissive.
    • 49 Metascore
    • 80 Todd McCarthy
    Where the film misses its biggest bet, however, is in depriving the animals of the voices they had in the animated version.
    • 74 Metascore
    • 80 Todd McCarthy
    What neophyte scripterscripter Jeff Maguire's plot comes down to, however, is the cat-and-mouse game between Horrigan and Leary, and the craftiness and strategies involved on both sides, while not exactly ingenious, are tantalizing enough to compel interest.
    • 78 Metascore
    • 80 Todd McCarthy
    First-time helmer Jan De Bont, the ace lenser of most of Paul Verhoeven's films as well as "Die Hard" and numerous other large-scale pix, handles the action with great nimbleness and dexterity; film can hardly be faulted for its visual presentation of very complex action.
    • 54 Metascore
    • 80 Todd McCarthy
    Ending is on the conventional side, more so than anything else in the picture , but script by Ann Biderman and David Madsen keeps the tart surprises coming throughout most of the picture with only occasional lapses into red herrings and artificial manipulation.
    • 66 Metascore
    • 80 Todd McCarthy
    On a scene-by-scene basis, in terms of performance and the grave issues under consideration, the film is quite absorbing.
    • 53 Metascore
    • 80 Todd McCarthy
    Just as quirky and idiosyncratic as the Gotham-based writer-director's earlier efforts, this one pushes the spiky humor a bit more to the fore while unfolding a tale loaded with offbeat oppositions and odd character detailing.
    • 58 Metascore
    • 80 Todd McCarthy
    A knockout documentary with a renegade personality ideally suited to its anarchic subject matter.
    • 62 Metascore
    • 80 Todd McCarthy
    The lively visuals, busy story, zippy pace and TV show running time will make this go down very easily with the target moppet audience.
    • 69 Metascore
    • 80 Todd McCarthy
    A creepy-little-kid suspenser decked out with sufficient class to lend it a certain distinction.
    • 72 Metascore
    • 80 Todd McCarthy
    A wonderful, serious-minded romantic comedy-drama.
    • 74 Metascore
    • 80 Todd McCarthy
    An absorbing, shades-of-gray look at home-front intrigue in Nazi-occupied Denmark during World War II. Ole Christian Madsen’s accomplished fourth feature plays out on a much larger canvas than he’s used previously and offers nuance and ambiguity in equal measure with violence and tragedy.
    • 74 Metascore
    • 80 Todd McCarthy
    Sad, compelling documentary leaves a few key questions frustratingly unanswered, but the raw materials here are sufficiently bracing.
    • 64 Metascore
    • 80 Todd McCarthy
    An insightfully observed and exceptionally acted ensemble piece precisely about what the title suggests.
    • 60 Metascore
    • 80 Todd McCarthy
    George Nofi pulls off a relative rarity in his feature film debut by creating a genuinely romantic fantasy suspense thriller.
    • 74 Metascore
    • 80 Todd McCarthy
    It's juicy, fascinating stuff, well orchestrated by Carion and finely thesped -- especially by Kusturica.
    • 69 Metascore
    • 80 Todd McCarthy
    In revisiting his darkly comic 1998 ensembler "Happiness," Todd Solondz may have made his best film with Life During Wartime.
    • 81 Metascore
    • 80 Todd McCarthy
    On balance, this is a meaty, strongly realized dramatic work of considerable accomplishment.
    • 80 Metascore
    • 80 Todd McCarthy
    Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.
    • 58 Metascore
    • 80 Todd McCarthy
    Cohen employs a comic range that ricochets between wicked political barbs and the lowest anatomical farce, to often funny and occasionally hilarious effect.
    • 52 Metascore
    • 80 Todd McCarthy
    The final installment of the immortal Bella/Edward romance will give its breathlessly awaiting international audience just what it wants.
    • 65 Metascore
    • 80 Todd McCarthy
    Audacious, confident and fueled by youthful energy.
    • 57 Metascore
    • 80 Todd McCarthy
    Cooler cars and more action follow Lightning and Mater as they mix it up with spies and Formula 1 racers in yet another Pixar winner.
    • 78 Metascore
    • 80 Todd McCarthy
    So it's a fun, if not exhilarating, ride, one sped along with the help of a wonderfully assembled cast.
    • 65 Metascore
    • 80 Todd McCarthy
    A perfectly diverting romp that happens to showcase some of the best 3D work yet from a mainstream animated feature. Colorful, clever enough, free of cloying showbiz in-jokes, action-packed without being ridiculous about it and even well choreographed.
    • 68 Metascore
    • 80 Todd McCarthy
    Strong action, special effects and by far the most credible ape "performances" yet seen will spell box office to inspire chest-thumping in all markets.
    • 59 Metascore
    • 80 Todd McCarthy
    A smoothly engineered crowd pleaser.
    • 76 Metascore
    • 80 Todd McCarthy
    Fassbender cuts a more prosaic, realistic figure as the tormented, romantic Rochester than did the screen's most celebrated performer of the role, Orson Welles, in the effective 1944 version.
    • 62 Metascore
    • 80 Todd McCarthy
    Black and his co-screenwriter, first-timer Drew Pearce, have great fun reshuffling the deck, teasing about who might occupy what superhero suit and morphing the story along with identity revelations and expansions of the dramatic horizons; the well-chosen cast members respond in kind with virtually palpable glee.
    • 69 Metascore
    • 80 Todd McCarthy
    Whedon and his cohorts have managed to stir all the personalities and ingredients together so that the resulting dish, however familiar, is irresistibly tasty again.
    • 65 Metascore
    • 80 Todd McCarthy
    Although Ridley Scott's 3D visual feast is no classic, the oozing alien tentacles hit all the right sci-fi horror notes.
    • 84 Metascore
    • 80 Todd McCarthy
    This is a Wes Anderson film -- more lightweight than some, possessing a stronger emotional undertow than others -- that will strike the uninitiated as conspicuously arch.
    • 62 Metascore
    • 80 Todd McCarthy
    Ted
    Not too many films serve up laughs that just keep on rolling with regularity from beginning to end, but Seth MacFarlane's directorial debut does so and without any feeling of strain.
    • 62 Metascore
    • 80 Todd McCarthy
    "No Country for Young Kids" would be just as suitable a title for The Woman in Black, a hoot of an old-fashioned British horror film.
    • 81 Metascore
    • 80 Todd McCarthy
    Only Tarantino could come up with such a wild cross-cultural mash, a smorgasbord of ingredients stemming from spaghetti Westerns, German legend, historical slavery, modern rap music, proto-Ku Klux Klan fashion, an assembly of '60s and '70s character actors and a leading couple meant to be the distant forebears of blaxploitation hero John Shaft and make it not only digestible but actually pretty delicious.
    • 84 Metascore
    • 80 Todd McCarthy
    Their physical disparity notwithstanding, Gordon-Levitt and Willis both come across strongly, while Blunt effectively reveals Sara's tough and vulnerable sides.
    • 59 Metascore
    • 80 Todd McCarthy
    This surprising collaboration between director Clint Eastwood and "Milk" screenwriter Dustin Lance Black tackles its trickiest challenges with plausibility and good sense, while serving up a simmeringly caustic view of its controversial subject's behavior, public and private.
    • 79 Metascore
    • 80 Todd McCarthy
    Feels lavish by normal documentary standards and will have great appeal in such F1 hotbeds as Europe and South America.
    • 61 Metascore
    • 80 Todd McCarthy
    Snappy, nasty, deftly acted and perhaps the fastest paced film ever directed by a 78-year-old, this adaptation of Yasmina Reza's award-winning play God of Carnage fully delivers the laughs and savagery of the stage piece.
    • 46 Metascore
    • 80 Todd McCarthy
    Best of all, von Sydow is absolutely wonderful, with the great veteran actor clearly relishing this very unusual role as he darts, skulks and, in a stealthy way, mugs across town. Without saying a thing, he dominates the middle part of the movie.
    • 64 Metascore
    • 80 Todd McCarthy
    The Whale is a thoughtful, philosophical, political and ultimately sad documentary that ponders the impulses behind, and advisability of, intense interaction between human beings and another smart species.
    • 56 Metascore
    • 80 Todd McCarthy
    Stars Chris Diamantopoulos, Will Sasso and Sean Hayes are on the money as Moe, Curly and Larry in a film containing more plot and sentiment than the boys' shorts ever had.
    • 58 Metascore
    • 80 Todd McCarthy
    Eastwood is vastly entertaining as an old-fashioned scout who disdains computers and fancy statistical charts in favor of his own time-tested instincts.
    • 74 Metascore
    • 80 Todd McCarthy
    This story of suffering and almost inadvertent humanitarianism is harrowing, engrossing, claustrophobic and sometimes literally hard to watch.
    • 53 Metascore
    • 80 Todd McCarthy
    Robert De Niro and writer-director Paul Weitz find the most congenial material either of them has had in quite some time in Being Flynn.
    • 83 Metascore
    • 80 Todd McCarthy
    The film rips right along and never relinquishes its grip.
    • 50 Metascore
    • 80 Todd McCarthy
    Tom Cruise is in fine form as mysterious tough guy Jack Reacher finally reaches the big screen.
    • 67 Metascore
    • 80 Todd McCarthy
    A beguiling romantic fantasy about the creative process and its potential to quite literally take on a life of its own, Ruby Sparks performs an imaginative high-wire act with finesse and charm.
    • 79 Metascore
    • 80 Todd McCarthy
    At once entirely frank and downright cuddly in the way it deals with the seldom-visited subject of the sex lives of people with disabilities, this well-acted and constructed film will, at the very least, turn the spotlight on this unusual topic.
    • 86 Metascore
    • 80 Todd McCarthy
    Tony Kushner's densely packed script has been directed by Spielberg in an efficient, unpretentious way that suggests Michael Curtiz at Warner Bros. in the 1940s, right down to the rogue's gallery of great character actors in a multitude of bewhiskered supporting roles backing up a first-rate leading performance by Daniel Day-Lewis.
    • 45 Metascore
    • 80 Todd McCarthy
    In the spirit of the venture, the entire cast gets down and comes off all the better for it. Both Efron and McConaughey get very messed up physically, and both actors seem stimulated to be playing such flawed characters.
    • 57 Metascore
    • 80 Todd McCarthy
    Ramping up his style to a more dynamic and elegant level than he’s achieved previously, Fuqua socks over the suspense and action but also takes the time for some quiet, even spare moments to emphasize the hero’s calm and apartness.
    • 75 Metascore
    • 80 Todd McCarthy
    Chris Hemsworth and Daniel Bruhl excel as, respectively, British wild man and hedonist James Hunt and Austrian by-the-books tactician Niki Lauda.
    • 55 Metascore
    • 80 Todd McCarthy
    This narrative directing debut by Sacha Gervasi remains absorbing and aptly droll despite a few dramatic ups and downs and, led by large performances by Anthony Hopkins and Helen Mirren.
    • 81 Metascore
    • 80 Todd McCarthy
    Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.
    • 78 Metascore
    • 80 Todd McCarthy
    Although marred by a couple of too-convenient plot contrivances, this often humorous drama lands firmly in the plus column among the Woodman's recent works.
    • 82 Metascore
    • 80 Todd McCarthy
    Ordinary in some ways and extraordinary in others, The Spectacular Now benefits from an exceptional feel for its main characters on the parts of the director and lead actors.
    • 75 Metascore
    • 80 Todd McCarthy
    Nearly as extravagant as the characters it depicts, Martin Scorsese's comic, operatically-scaled film is, on a moment-by-moment basis, often madly entertaining due to its live-wire energy, exuberant performances and the irresistible appeal of watching naughty boys doing very naughty things.
    • 85 Metascore
    • 80 Todd McCarthy
    As Oscar, Jordan at moments gives off vibes of a very young Denzel Washington in the way he combines gentleness and toughness; he effortlessly draws the viewer in toward him.
    • 79 Metascore
    • 80 Todd McCarthy
    A lively, sometimes very funny comedy.
    • 86 Metascore
    • 80 Todd McCarthy
    [A] wryly poignant and potent comic drama about the bereft state of things in America’s oft-vaunted heartland.
    • 63 Metascore
    • 80 Todd McCarthy
    In the meaty bad guy role, Harrelson entertainingly goes all the way, putting him way out there on the ledge with any of your favorite loonies, psychos and unhinged nutjobs.
    • 64 Metascore
    • 80 Todd McCarthy
    It is never boring and does provoke and stimulate, although not as a turn-on, not remotely.
    • 77 Metascore
    • 80 Todd McCarthy
    Only Lovers Left Alive is an addictive mood and tone piece, a nocturnal reverie that incidentally celebrates a marriage that has lasted untold centuries.
    • 78 Metascore
    • 80 Todd McCarthy
    This is Holofcener’s sweet spot, the depiction of the emotional confusions, self-deceptions, uncertainties and misguided decisions that can cloud and get the better of otherwise bright, aware people, especially the female characters she tends to specialize in.
    • 69 Metascore
    • 80 Todd McCarthy
    The best feature film directed by someone named Coppola in a number of years.
    • 88 Metascore
    • 80 Todd McCarthy
    Constant lateral tracks, push-ins, whip-pans, camera moves timed to dialogue, title cards, chapter headings, miniatures, use of stop-action, fetishization of clothing and props, absurdist predicaments — all the techniques Anderson has honed over the years — are used to pinpoint effect here.
    • 79 Metascore
    • 80 Todd McCarthy
    A sharply made, perfectly cast and unfailingly absorbing melodrama. But, like the director's adaptation of another publishing phenomenon, The Girl With the Dragon Tattoo, three years ago, it leaves you with a quietly lingering feeling of: “Is that all there is?”
    • 76 Metascore
    • 80 Todd McCarthy
    The connection between art and technology is explored in an entertaining and accessible way in Tim's Vermeer, a documentary that demonstrates how a savvy and dedicated amateur with sufficient resources was able to create a remarkable likeness of a great 17th century painting.
    • 60 Metascore
    • 80 Todd McCarthy
    Volume two gets down in ways the first half doesn't, although anything resembling real sensuality remains MIA.
    • 69 Metascore
    • 80 Todd McCarthy
    This beautifully crafted film intrigues as a story never told before and ratchets up dramatic interest through a succession of unexpected turns.
    • 71 Metascore
    • 80 Todd McCarthy
    Dominating it all is Cumberbatch, whose charisma, tellingly modulated and naturalistic array of eccentricities, Sherlockian talent at indicating a mind never at rest and knack for simultaneously portraying physical oddness and attractiveness combine to create an entirely credible portrait of genius at work.
    • 87 Metascore
    • 80 Todd McCarthy
    The antithesis of “let’s-put-on-a-show” fluff, Whiplash...is about the wages of all-out sacrifice and commitment.
    • 75 Metascore
    • 80 Todd McCarthy
    Raunchy humor laced with gradually revealed vulnerability makes for a winning combination in Obvious Child, a wildly funny and appealing female-centric comedy that launches very promising talent on both sides of the camera.
    • 65 Metascore
    • 80 Todd McCarthy
    Quai d’Orsay zips along at a good clip and benefits from the gruffly benevolent gravity of Arestrup, which offsets the machine-gun pace set by Lhermitte.
    • 67 Metascore
    • 80 Todd McCarthy
    After building up a narrative head of steam, the film relaxes too much back into expository documentary form. What might have been thrilling is merely entirely engrossing.
    • 65 Metascore
    • 80 Todd McCarthy
    Endlessly stimulating and provoking, Ivory Tower presents a solid overview of an urgent problem that some claim is about to implode and others believe can be worked through with the intelligent application of fresh ideas.
    • 71 Metascore
    • 80 Todd McCarthy
    A seamless, pulsating, dazzlingly visual revenge fantasy that stands as one of the most effective live-actioners ever derived from a comic strip.
    • 71 Metascore
    • 80 Todd McCarthy
    It’s an impressive debut, an ambitious project pulled off with confidence.
    • 37 Metascore
    • 80 Todd McCarthy
    Jason Reitman's new film skillfully navigates through the personal melodramas of many characters with a nice sense of balance and a sharp appreciation of generational differences.
    • 89 Metascore
    • 80 Todd McCarthy
    No matter one's personal stance about what Snowden did, this revelatory work is fascinating and thought-provoking, if, at the same time, oddly lacking in tension; unlike the provocations of Michael Moore or Oliver Stone, the temperature of this film is very cool.
    • 57 Metascore
    • 70 Todd McCarthy
    Ritchie has never worked on a scale anything approaching this before and, while some of the directorial affectations are distracting, he keeps the action humming.
    • 79 Metascore
    • 70 Todd McCarthy
    One doesn't know how (auto)biographical any or all of this is, but there's a tartness to the telling of what amounts to a well-shaped series of anecdotes that bespeaks distant pain or, at least, wincing memory twisted into mordant comedy by time and sensibility.
    • 45 Metascore
    • 70 Todd McCarthy
    Mostow's smart speculative suspenser imagines a time when people can live through ideal versions of themselves while they sit wired up at home.
    • 76 Metascore
    • 70 Todd McCarthy
    Boy gets girl and boy loses girl in convoluted, sometimes cloying but ultimately winning fashion in 500 Days of Summer.
    • 73 Metascore
    • 70 Todd McCarthy
    There are moments, especially when Welles is alternating between acting as Brutus and directing everyone else, that it’s possible to forget you’re watching an actor and really believe you’re beholding Orson Welles at work.
    • 76 Metascore
    • 70 Todd McCarthy
    A rather ordinary account of youthful summer misadventures that goes down easily thanks to a sparky cast, more than 40 pop tunes that anchor the action in the late '80s and characters who get high both on and off their jobs at a tacky amusement park.
    • 69 Metascore
    • 70 Todd McCarthy
    The tense drama eventually becomes off-putting when it becomes clear almost every scene hinges on an unpleasant or ugly racial interaction.
    • 67 Metascore
    • 70 Todd McCarthy
    A wildly ambitious and gravely serious contemplation of life, love, art, human decay and death, the film bears Kaufman’s scripting fingerprints in its structural trickery and multiplane storytelling.
    • 72 Metascore
    • 70 Todd McCarthy
    Highlighted by the star's vastly entertaining performance, this funny, broad but ultimately serious-minded drama about an old-timer driven to put things right in his deteriorating neighborhood looks to be a big audience-pleaser.
    • 76 Metascore
    • 70 Todd McCarthy
    The bawdy jokes score big points, but it's the rueful acknowledgement of adolescent embarrassment and humiliation that most distinguishes Superbad, another ultra-raunchy and commercial sex comedy from the Judd Apatow laugh factory.
    • 64 Metascore
    • 70 Todd McCarthy
    In the end, though, it's Crowe who must carry the most freight, which he does with another characterization to relish. Still bulky, although not as much so as in "Body of Lies," long-tressed and somewhat grizzled, he finds the gist of the affable eccentricity, natural obsessiveness and mainstream contrarianism that marks many professional journalists.