Todd McCarthy

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For 1,499 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 1.7 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Revenant
Lowest review score: 0 Being Human
Score distribution:
1499 movie reviews
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    It's got a few things going for it and it's not unenjoyable to sit through, but, at the same time, the tone and creative register never feel confident and settled. It's not bad but not quite good enough either.
    • 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.
    • 55 Metascore
    • 50 Todd McCarthy
    Unfortunately, as a director, Foster shows no knack or instinct for building tension; her style is strictly presentational, brisk and efficient, but with no sly trickery, desire to surprise or to forge technique that suggests an imaginative approach to storytelling.
    • 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.
    • 74 Metascore
    • 50 Todd McCarthy
    Goes down like stiff medicine, leaving one feeling exhausted relief when it's finally over.
    • 44 Metascore
    • 50 Todd McCarthy
    Valerie Breiman’s exceedingly slick feature is one of those cutesy items in which the characters talk about nothing but relationships and themselves.
    • 57 Metascore
    • 50 Todd McCarthy
    Taymor makes the action clear and easy to follow with her bold physicalization of the story and forceful direction of an astutely chosen cast.
    • 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.
    • 72 Metascore
    • 50 Todd McCarthy
    There is amusement to be had, engaging actors to admire and beautiful craftsmanship to behold, but the entertainment quotient is below their usual standard when it comes to the films they target for a mass audience, of which this is one.
    • 60 Metascore
    • 50 Todd McCarthy
    Falls somewhere in between standing on its own feet as a real movie worth the price of a ticket and merely being a glorified TV episode refitted for theaters.
    • 53 Metascore
    • 50 Todd McCarthy
    Some mordant comic touches would have been welcome throughout the picture, which has a somber tone that suffers a bit from lack of modulation and nuance.
    • 69 Metascore
    • 50 Todd McCarthy
    River of Grass works much better as a jokey , theoretical piece of genre revisionism than as a real movie.
    • 36 Metascore
    • 50 Todd McCarthy
    Created as a comic vehicle for the lead actor, pic depends entirely too much on Wayans to carry the day, but at this point he is far more eager and willing than he is funny.
    • 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.
    • 55 Metascore
    • 50 Todd McCarthy
    By underplaying the melodrama in the presumed hope of seeming subtle when Kelley Sane’s script is so baldly melodramatic, the “Tsotsi” helmer drains the life out of an obviously explosive subject.
    • 52 Metascore
    • 50 Todd McCarthy
    Individual scenes are charged with energy, tense confrontations are numerous, and Hillcoat and Cook's intentions were undoubtedly partly to tease and taunt viewers with uncertainly about where they, and the characters, stand, to figure out who's got the power and who doesn't. If it was possible to give a damn about any of them, it would help.
    • 35 Metascore
    • 50 Todd McCarthy
    This isn't the Star Wars we've always known and at least sometimes loved.
    • 73 Metascore
    • 50 Todd McCarthy
    Stylistically audacious in the way it employs six different actors and assorted visual styles to depict various aspects of the troubadour's life and career, the film nevertheless lacks a narrative and a center, much like the "ghost" at its core.
    • 70 Metascore
    • 50 Todd McCarthy
    Oddly, too, the film is somewhat shortchanged by its great star, Johnny Depp, who disappointingly has chosen to play Dillinger as self-consciously cool rather than earthy and gregarious.
    • 46 Metascore
    • 50 Todd McCarthy
    Writers and directors Richard Glatzer and Wash Westmoreland have crafted a solid script... Holding the enterprise back, however, is a terribly restrained directorial approach and academic visual style that prevent the lubricious story from truly coming to life.
    • 28 Metascore
    • 50 Todd McCarthy
    Unfortunately, the operative word is bland, as the newcomers don't add much to the formula, leaving it to their nemeses to enliven the proceedings. Narrative drive and humor are also in short supply, which creates a serious sagsag in the middle when the novelty of the fresh components has mostly worn off.
    • 55 Metascore
    • 50 Todd McCarthy
    The dark and sometimes funny The D Train is a feel-bad comedy, in that one feels bad for what happens to every character in the film and bad for sometimes being taken to places that feel more implausible than just transgressive.
    • 61 Metascore
    • 50 Todd McCarthy
    Has moments of power and imagination, but the overworked style and heavy socially conscious bent exude an off-putting sense of self-importance, making for a picture that's more of a chore than a pleasure to sit through.
    • 61 Metascore
    • 50 Todd McCarthy
    The repetitive storyline about successive heists during a Muppets European tour grows tiresome and the fun is intermittent.
    • 54 Metascore
    • 50 Todd McCarthy
    The film is ice cold, never finding a way to invite the viewer into the story, and Richard Gere doesn't convince as a Jewish biblical scholar.
    • 61 Metascore
    • 50 Todd McCarthy
    Eccentric, misguided and occasionally charming and sweet, this curiosity item with Sean Penn in one of his nuttier performances is unlikely to be embraced critically or commercially.
    • 74 Metascore
    • 50 Todd McCarthy
    It is nonetheless imaginative in a highly familiar and ultimately tedious way.
    • 47 Metascore
    • 50 Todd McCarthy
    Unfortunately, story's tension climaxes a half-hour before the film is over, and thereafter dissipates much of the charge and good will generated up to that point.
    • 54 Metascore
    • 50 Todd McCarthy
    Amiable but no more, Bee Movie puts a hiveful of potent talent at the service of a zig-zigging, back-of-an-envelope story that's short on surprise and originality.
    • 58 Metascore
    • 50 Todd McCarthy
    Stephen Daldry's film is sensitively realized and dramatically absorbing, but comes across as an essentially cerebral experience without gut impact.
    • 43 Metascore
    • 50 Todd McCarthy
    Such heart-tuggers have their appeal to some people in any era, but earnest hokum of this nature has become increasingly rare. And for a reason.
    • 48 Metascore
    • 50 Todd McCarthy
    Other than for the pleasure of watching Green try to conquer ancient Greece dressed as a distant forebearer of Catwoman, more is less and a little late in this long-aborning sequel.
    • 55 Metascore
    • 50 Todd McCarthy
    Notable for Kimberly Elise's ferocious lead performance and for the bigscreen exposure pic affords the charismatic Bishop T.D. Jakes, who plays himself and upon whose works the film is based.
    • 34 Metascore
    • 50 Todd McCarthy
    As gooey and lacking in protein as a chocolate holiday bonbon, Valentine's Day plays like a feature-length commercial produced by the Friends of the Valentine Promotional Society.
    • 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.
    • 47 Metascore
    • 50 Todd McCarthy
    A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.
    • 55 Metascore
    • 50 Todd McCarthy
    This handsome, not unappealing look at a Scottish legend of nearly 300 years ago is too solemn, wooden and dour for its own good, and feels oddly of another era.
    • 52 Metascore
    • 50 Todd McCarthy
    A strange international odyssey that becomes more complicated and loony by the moment. Some viewers will undoubtedly tune out early, others will follow as far as they can -- and a privileged few might make it all the way.
    • 45 Metascore
    • 50 Todd McCarthy
    The slapstick and action comedy interludes are haphazardly executed at best, and matters aren't helped by the film's incredibly ugly look.
    • 52 Metascore
    • 50 Todd McCarthy
    Memories of dreary Sunday school classes come flooding back courtesy of The Nativity Story.
    • 57 Metascore
    • 50 Todd McCarthy
    What starts as potentially interesting apocalyptic speculative fiction devolves into dreary sub-Hunger Games survivalism and banal teen romance.
    • 64 Metascore
    • 50 Todd McCarthy
    A great title in search of a movie to live up to it, this startlingly uneventful compendium of thick-headed boy-talk and female tolerance squanders a fine cast on incredibly ordinary characters and situations.
    • 49 Metascore
    • 50 Todd McCarthy
    Heijningen doesn't display the instinct of the best Hollywood action directors to give the audience what it craves at the big moments, except for a few gory in-your-face shots.
    • 59 Metascore
    • 50 Todd McCarthy
    The cutting-edge perfection of effects in Cameron and Spielberg films is replaced here by work that looks more homemade, particularly toward the end in some faintly cheesy composite shots.
    • 55 Metascore
    • 50 Todd McCarthy
    Richard Shepard’s film is far from dull, but it just doesn’t feel like the real thing, more like an artificial construct inspired by pumped-up crime favorites from a couple of decades ago.
    • 59 Metascore
    • 50 Todd McCarthy
    A sense of strain envelops the proceedings this time around. One can feel the effort required to suit up one more time, come up with fresh variations on a winning formula and inject urgency into a format that basically needs to be repeated and, due to audience expectations, can't be toyed with or deepened very much.
    • 62 Metascore
    • 50 Todd McCarthy
    42
    Pretty when it should be gritty and grandiosely noble instead of just telling it like it was, 42 needlessly trumps up but still can't entirely spoil one of the great American 20th century true-life stories, the breaking of major league baseball's color line by Jackie Robinson.
    • 44 Metascore
    • 50 Todd McCarthy
    Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.
    • 52 Metascore
    • 50 Todd McCarthy
    Well-crafted but thoroughly unsuspenseful.
    • 48 Metascore
    • 50 Todd McCarthy
    Beautiful to look at, this is nothing more than a Little Engine That Could story refitted to accommodate aerial action and therefore unlikely to engage the active interest of anyone above the age of about 8, or 10 at the most.
    • 49 Metascore
    • 50 Todd McCarthy
    Disappointingly, Death of a President shrinks from its promise as a piece of genuinely radical or adventurous speculative fiction.
    • 58 Metascore
    • 50 Todd McCarthy
    Staccato, Mamet-style dialogue exchanges, breathless pacing and remarkably healthy, well-fed-looking actors create a cumulative sense of artificiality that seriously undercuts the devastating effect clearly being sought.
    • 38 Metascore
    • 50 Todd McCarthy
    Pushes its dark, smart, clever, cynical, satirical, nasty, provocative and sarcastic instincts to the point of heavily diminished returns -- to the point where the very amusing premise just isn't funny anymore.
    • 64 Metascore
    • 50 Todd McCarthy
    Handsome, respectable and well cast, elaborate production lacks the excitement and magic that would elevate the film to beloved status, and sheer abundance of CGI work weighs on it too heavily.
    • 52 Metascore
    • 50 Todd McCarthy
    Cage supplies beaucoup energy, but his highly compromised hustler cop character provides little else in which he can invest his talent. Sinise wears an increasingly grim demeanor in a part that comes to make no sense, and John Heard's role as a local power broker gets lost in the shuffle.
    • 60 Metascore
    • 50 Todd McCarthy
    Unfortunately, after a relatively promising warmup, pic actually proceeds to flatten out the characters in the latter sections and to make them less dimensional and interesting than they initially seemed.
    • 43 Metascore
    • 50 Todd McCarthy
    Visually resplendent but dramatically uneven.
    • 66 Metascore
    • 50 Todd McCarthy
    A potentially fun premise soon turns into no fun at all in Cop Car, a seriously imagination-challenged low-end action thriller.
    • 28 Metascore
    • 50 Todd McCarthy
    The fact that the three actors who do most of the fooling around — Robert De Niro, Diane Keaton and Susan Sarandon — have a combined age of 202 pegs this as a sex romp for the Viagra crowd.
    • 55 Metascore
    • 50 Todd McCarthy
    A half-broken adaptation of Cormac McCarthy's great modern Western novel. Neither dull nor exciting.
    • 52 Metascore
    • 50 Todd McCarthy
    An intensely sophomoric and rampantly uneven comic takedown of an easy but worrisomely unpredictable target.
    • 47 Metascore
    • 50 Todd McCarthy
    You can virtually see the mystique peeling away while beholding the turgid melodrama, patchy plotting, windy dialogue and, yes, spectacular combat effects of this grand finale.
    • 57 Metascore
    • 50 Todd McCarthy
    Towelhead is transgressive without being effectively subversive, gutsy to no particular end. It simply lacks style, which counts for so much in this sort of thing.
    • 52 Metascore
    • 50 Todd McCarthy
    Will please fans of Sara Gruen's best seller, but it lacks the vital spark that would have made the drama truly compelling on the screen.
    • 58 Metascore
    • 50 Todd McCarthy
    The new film may also serve a purpose by showcasing a dynamic and attractive new actor, Kenny Wormald but, otherwise, this is a by-the-numbers affair.
    • 52 Metascore
    • 50 Todd McCarthy
    Graced with well-chosen location eye candy, Tom Tykwer's biggest production to date is proficient but lacks the added tension and characterization to put it anywhere near the top tier of contempo action suspensers.
    • 47 Metascore
    • 50 Todd McCarthy
    A simple repast consisting of sometimes strained slapsticky comedy, a sweet romance and a life lesson learned, this little picnic doesn't amount to much but goes down easily enough.
    • 53 Metascore
    • 50 Todd McCarthy
    A film that should but doesn't get under your skin and give you the creeps.
    • 52 Metascore
    • 50 Todd McCarthy
    Terse and understated, this is a spy vs. spy tale designed to minimize talk and maximize action, not at all a bad thing in movies but over-worked to near-exhaustion here.
    • 55 Metascore
    • 50 Todd McCarthy
    Beautifully made production lacks the emotional depth and dramatic tension needed to command audience attention beyond the level of a talented curiosity.
    • 69 Metascore
    • 50 Todd McCarthy
    An unsuccessful attempt to get inside the head, under the skin or through the looking glass of Bush administration Secretary of Defense and Iraq War proponent Donald Rumsfeld.
    • 48 Metascore
    • 50 Todd McCarthy
    In its animated work, DreamWorks has repeatedly flip-flopped between the hip and the square. This time out, it's as if the company tried to apply a hip approach to a square subject, with unresolved results.
    • 55 Metascore
    • 50 Todd McCarthy
    Dark Shadows sinks its teeth half-way into its potentially meaty material but hesitates to go all the way.
    • 50 Metascore
    • 50 Todd McCarthy
    A genre mash that's mildly amusing until it can't think of anything else to do besides flop around in the deep end of conspicuous gore.
    • 70 Metascore
    • 50 Todd McCarthy
    Adds relatively little insight to the public understanding of wayward military behavior more incisively analyzed in "Taxi to the Dark Side."
    • 56 Metascore
    • 50 Todd McCarthy
    A constant low-boil of ridiculousness both mocks and sustains Non-Stop, a jerry-rigged terror-on-a-plane thriller with a premise so far-fetched as to create a degree of suspense over how the writers will wriggle out of the knot of their own making.
    • 19 Metascore
    • 50 Todd McCarthy
    Attractively designed, energetically performed and, above all, blessedly concise, this adaptation of one of the most popular American kids' books of all time walks the safe side of surrealism with its fur-flying shenanigans. The younger the viewers, the better reactions are bound to be.
    • 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.
    • 53 Metascore
    • 50 Todd McCarthy
    Malick's most distinctive ambition here is his attempt to create an almost pointilistic portrait of a man by evoking acute moments of his past and present, and this sustains real interest for a while, as you wait to see how it all might come together. But as the film just keeps offering more of the same...it doesn't build or pay off with what it seems designed to do, which is to provide either a dramatic or philosophical apotheosis.
    • 49 Metascore
    • 50 Todd McCarthy
    A below-par star vehicle for Mel Gibson and Julia Roberts, Conspiracy Theory is a sporadically amusing but listless thriller that wears its humorous, romantic and political components like mismatched articles of clothing.
    • 56 Metascore
    • 50 Todd McCarthy
    Had the young Jack Nicholson played such a character during the height of the Vietnam War, it would have been easy to go along for the ride. But skilled as Phoenix is at pulling off the individual scenes of Elwood's shenanigans, the actor doesn't come across as embodying rebellion to the marrow of his bones, which renders his scams arbitrary and disagreeably irresponsible.
    • 52 Metascore
    • 50 Todd McCarthy
    Mix Brigitte Bardot in "And God Created Woman" with Carroll Baker in "Baby Doll," sex it up times 10 and you have a notion of the effect of Christina Ricci in Black Snake Moan.
    • 48 Metascore
    • 50 Todd McCarthy
    The Judge is well served by intense performances from stars Robert Downey Jr. and Robert Duvall, but is undercut by obvious note-hitting in the writing and a deliberate pace that drags things out about twenty minutes past their due date.

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