Todd McCarthy
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For 1,421 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 The Aviator
Lowest review score: 0 Being Human
Score distribution:
1,421 movie reviews
    • 47 Metascore
    • 50 Todd McCarthy
    This comically intended battle of the species is family entertainment for families that will buy anything.
    • 63 Metascore
    • 50 Todd McCarthy
    Once Damon's one-man truth squad goes off the reservation and starts behaving too much like Jason Bourne for comfort, the film begins not only spilling more blood but also leaking crucial credibility.
    • 49 Metascore
    • 50 Todd McCarthy
    Would have made for a fine film noir 60 years ago but feels rather contrived and unbelievable in the setting of contemporary New York.
    • 40 Metascore
    • 50 Todd McCarthy
    The modestly scaled film delivers some moving and affecting moments amid a preponderance of scenes of frequently annoying people behaving badly.
    • 61 Metascore
    • 50 Todd McCarthy
    The same tone and look are maintained, but the visceral excitement is muffled by familiarity, an insufficiently conceived lead character and the sheer weight of backstory and multiple layers of deception.
    • 49 Metascore
    • 50 Todd McCarthy
    Yields up plenty of opportunities for heated confrontations, wild and woolly dialogue and startling violence, which prove diverting in a shallow way.
    • 58 Metascore
    • 50 Todd McCarthy
    The film's slender conceit is given some weight by its 11-year-old leading lady Sydney Aguirre, whose portrait of a flinty, instinctively mischievous tomboy growing up without benefit of parental guidance provides gratification even when there's not much going on.
    • 46 Metascore
    • 50 Todd McCarthy
    Every character here is so squeaky-clean, and the prejudice as depicted is so toothless and easily overcome, that the film feels like a gingerly fantasy version of what, in real life, was an exceptional example of resilient trail-blazing.
    • 57 Metascore
    • 50 Todd McCarthy
    Chris Gorak grabs the viewer by the throat in the first few minutes, but quickly fritters away involvement by concentrating almost exclusively on two characters who are both annoying and boring.
    • 45 Metascore
    • 50 Todd McCarthy
    In the end, given how little goes on in Breaking Dawn - Part 1 despite the major plot points, what you're left with is to gaze at the three leads, all of whom have their constituencies and reasons for being eminently watchable. The only hope is they'll have more to do next time around.
    • 36 Metascore
    • 50 Todd McCarthy
    A waterlogged would-be thriller deep-sixed by its misguided notion of high concept. [12 January 1998, p. 63]
    • Variety
    • 73 Metascore
    • 50 Todd McCarthy
    With Gere’s character so lacking in memory and mental clarity, the film provides very little for an audience to latch on to. Tedium quickly sets in and is only sporadically relieved in this labor of love that simply doesn’t reward even the patient attention of sympathetic viewers.
    • 41 Metascore
    • 50 Todd McCarthy
    Te laughs "Fockers" generates are the type you feel embarrassed about almost immediately afterward.
    • 49 Metascore
    • 50 Todd McCarthy
    For actor and director, the project seems like trying on a new coat, and it doesn't fit either of them.
    • 56 Metascore
    • 50 Todd McCarthy
    Arch and funny in equal measure, this looks like a theatrical non-starter that Clooney fans and football devotees might be tempted to check out down the line on DVD or on the tube.
    • 64 Metascore
    • 50 Todd McCarthy
    A quiet work with Ozu-like structure and concerns, but remains more an intellectual exercise than one from the heart.
    • 57 Metascore
    • 50 Todd McCarthy
    Efficient, if ultimately rote, political thriller.
    • 34 Metascore
    • 50 Todd McCarthy
    Mostly clunky and vaguely unsavory.
    • 61 Metascore
    • 50 Todd McCarthy
    The significant potential of its premise is squandered by an increasing reliance on teen movie cliches, silly plotting and the urge to be upbeat rather than to communicate life lessons.
    • 51 Metascore
    • 50 Todd McCarthy
    Todd Phillips' follow-up to the most successful R-rated comedy of all time serves up its share of laughs while not actually providing a terribly enjoyable time because of a queasy undercurrent that never goes away.
    • 58 Metascore
    • 50 Todd McCarthy
    As eye and ear candy, pic has its modest pleasures, beginning with the attractive Diggs and Lathan.
    • 55 Metascore
    • 50 Todd McCarthy
    This trifle about a dizzy downtown New York scenester who gets a grip on her life is energized by several attractive characters and enough youthful pep to put it over as an upbeat diversion for teens and twentysomethings, though it has no more substance than bubblegum music.
    • 63 Metascore
    • 50 Todd McCarthy
    As the enduring success of this property has shown, there are large, emotionally susceptible segments of the population ready to swallow this sort of thing, but that doesn't mean it's good.
    • 37 Metascore
    • 50 Todd McCarthy
    The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time.
    • 64 Metascore
    • 50 Todd McCarthy
    A superficial look at the '50s sex icon, picture feels like it was researched via press clippings rather than attempting a fresh rethinking of its era and provocative subject.
    • 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.
    • 70 Metascore
    • 40 Todd McCarthy
    A coming-of-age piece that is slight to the point of anemia, Unstrung Heroes sports a willful eccentricity that almost immediately becomes annoying.
    • 33 Metascore
    • 40 Todd McCarthy
    Certain to create a gaping divide between generational and aesthetic camps, Sucker Punch is a largely grim and unpleasant display of technical wizardry wrapped around a story that purports to be inspirational.
    • 37 Metascore
    • 40 Todd McCarthy
    The deadening and sometimes laughable litany of shouted military-style dialogue eventually pummels into submission any hope for fresh creative angles on this well-worn format.
    • 44 Metascore
    • 40 Todd McCarthy
    Impeccably crafted but dramatically dull.
    • 56 Metascore
    • 40 Todd McCarthy
    Too familiar in its basic trajectory to be fresh or compelling.
    • 48 Metascore
    • 40 Todd McCarthy
    Lahti's feature directorial debut walks an innocuous middle line between the story's maudlin possibilities and its meaningful potential.
    • 42 Metascore
    • 40 Todd McCarthy
    Breaks down when it gets to the distant future, which in this case isn't a good place to be stranded.
    • 54 Metascore
    • 40 Todd McCarthy
    An annoying example of self-therapy posing as art.
    • 30 Metascore
    • 40 Todd McCarthy
    If auds swallow this odoriferous exercise in calculated career repositioning, they'll swallow anything.
    • 42 Metascore
    • 40 Todd McCarthy
    The visuals are undeniably dreamy, but they mostly seem borrowed from other filmmakers’ dreams.
    • 41 Metascore
    • 40 Todd McCarthy
    Worst of all, it just feels tired and recycled.
    • 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.
    • 37 Metascore
    • 40 Todd McCarthy
    Overstuffed and fatally miscast, All the King's Men never comes to life.
    • 41 Metascore
    • 40 Todd McCarthy
    An ultra-arty "The Sixth Sense" that deliberately inhibits comprehension of the story until the very end -- and arguably continues to inhibit it even then -- pic features certifiably talented people on both sides of the camera collaborating on a project that probably shouldn't have been undertaken in the first place.
    • 18 Metascore
    • 40 Todd McCarthy
    Unfortunately, almost everything about the film is so unbelievable and misjudged that only the most gullible audiences will feel any transporting thrill at the end other than from the movie finally being over.
    • 67 Metascore
    • 40 Todd McCarthy
    The gambits in Ghost Dog seem simply like literary and cinematic games devoid of any larger meaning.
    • 44 Metascore
    • 40 Todd McCarthy
    Director Rawson Marshall Thurber adequately manages the mechanics demanded here but adds no finesse or grace notes.
    • 62 Metascore
    • 40 Todd McCarthy
    Bug
    A ranting, claustrophobic drama that trades in shopworn paranoid notions, William Friedkin's overwrought screen version of Tracy Letts' play assaults the viewer with aggressive thesping and over-the-top notions of shocking incident, all to intensely alienating effect.
    • 53 Metascore
    • 40 Todd McCarthy
    After slipping badly with the second installment two years ago, the Narnia franchise does a full-on belly flop with this third.
    • 39 Metascore
    • 40 Todd McCarthy
    Scarcely more amusing than spending 90 minutes in a pre-K classroom.
    • 39 Metascore
    • 40 Todd McCarthy
    A female solidarity adultery comedy that's three parts embarrassing farce to one part genuinely comic discharge.
    • 64 Metascore
    • 40 Todd McCarthy
    Except for the physical aspects of this bleak odyssey by a father and son through a post-apocalyptic landscape, this long-delayed production falls dispiritingly short on every front.
    • 50 Metascore
    • 40 Todd McCarthy
    Largely listless and witless, this extensive reworking of the 1968 sci-fi favorite simply isn't very exciting or imaginative; most surprisingly, given the material, it's also Burton's most conventional and literal-minded film, the one most lacking in his trademark poetic weirdness and bracing flights of fancy.
    • 45 Metascore
    • 40 Todd McCarthy
    A Steve Martin vehicle that's not prankish or weird enough by half.
    • 45 Metascore
    • 40 Todd McCarthy
    Revives the format but not the fun of classic Hollywood screwball comedies about rediscovering the virtues of a former mate.
    • 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.
    • 49 Metascore
    • 40 Todd McCarthy
    Represents a passable follow-up to the venerable Peter Pan story and mercifully, at 72 minutes, is exactly half the length of the last attempt at same, Steven Spielberg's lamentable "Hook."
    • 36 Metascore
    • 40 Todd McCarthy
    Satisfying neither as character study nor as straight-ahead actioner.
    • 59 Metascore
    • 40 Todd McCarthy
    Possessed of another outstanding wall-to-wall score by Philip Glass but rather fuzzy in its message, entry differs from its predecessors in that roughly 80% of its images are derived from existing sources and have been "tortured and recontextualized" to unusual and sometimes extreme effect.
    • 56 Metascore
    • 40 Todd McCarthy
    Like "Waiting to Exhale" except more so, film jerks from scene to scene with little sense of rhythm, continuity or dramatic shaping.
    • 40 Metascore
    • 40 Todd McCarthy
    A picture too simplistic and sentimental for art seekers and too rough for general audiences.
    • 51 Metascore
    • 40 Todd McCarthy
    So second-hand and disposable is it in every respect.
    • 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.
    • 35 Metascore
    • 40 Todd McCarthy
    An empty shell.
    • 52 Metascore
    • 40 Todd McCarthy
    Although there’s talent on display in all aspects of this time-jumping, visually distinctive independent that rests its commercial hopes on the names of leads Justin Long and Emmy Rossum, Esmail strenuously overplays his hand with the torrent of obnoxious dialogue he asks his male lead to deliver, which is enough to make one want to run out several times for a breather.
    • 38 Metascore
    • 40 Todd McCarthy
    The comedy just isn't that funny and the enterprise never finds an exact tone.
    • 43 Metascore
    • 40 Todd McCarthy
    With "Shampoo" and "American Gigolo" now distant memories, the time evidently seemed ripe for another Hollywood stud movie. Despite Ashton Kutcher’s believability as an older woman’s kept boy, Spread isn’t a patch on those previous films.
    • 21 Metascore
    • 40 Todd McCarthy
    If drive-ins still existed, this film would rule there for weeks.
    • 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.
    • 29 Metascore
    • 40 Todd McCarthy
    Director Renny Harlin has unfortunately adopted a let's-try-anything attitude that translates into a chaotic and unattractive visual style.
    • 66 Metascore
    • 40 Todd McCarthy
    The story is undoubtedly weird, but perhaps more so on paper than on the screen, since Russell and his actors have played it mostly straight in attempting to confer psychological validity on all the untoward developments.
    • 39 Metascore
    • 40 Todd McCarthy
    There's nothing funny, provocative or involving about what "Shrek" co-writer Joe Stillman and the team from Madrid-based Ilion Animation Studios do with the notion here.
    • 24 Metascore
    • 40 Todd McCarthy
    A demolition derby starring some of the most expensive cars on Earth, Redline portrays a world so drenched in wealth it gives off a stench.
    • 53 Metascore
    • 40 Todd McCarthy
    The Hudsucker Proxy is no doubt one of the most inspired and technically stunning pastiches of old Hollywood pictures ever to come out of the New Hollywood. But a pastiche it remains, as nearly everything in the Coen brothers' latest and biggest film seems like a wizardly but artificial synthesis, leaving a hole in the middle where some emotion and humanity should be.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Todd McCarthy
    It's a quick trip from whimsy to silliness in Be Kind Rewind, a notably ephemeral work by Michel Gondry, whose flights of fancy can't overcome the egregious illogic of the premise.
    • 31 Metascore
    • 40 Todd McCarthy
    A deeply metaphysical film by contempo Hollywood standards, this middlebrow trifle may engage the emotions of a certain tier of young professional women.
    • 33 Metascore
    • 40 Todd McCarthy
    Lacks the antic energy and inspired imagination that might have put this over as a sharp-witted community comedy in the Preston Sturges vein.
    • 42 Metascore
    • 40 Todd McCarthy
    Jackson undermines solid work from a good cast with show-offy celestial evocations that severely disrupt the emotional connections with the characters.
    • 59 Metascore
    • 40 Todd McCarthy
    The story keeps everyone in motion all night long, and frantically so, to the point that it could easily have been titled Non-Stop 2.
    • 48 Metascore
    • 40 Todd McCarthy
    Schneider hams it up as a paunchy middle-aged Hawaiian stoner in an eyebrow-raising ethnic caricature that more than once calls to mind Mickey Rooney's unfortunate Japanese turn in "Breakfast at Tiffany's."
    • 53 Metascore
    • 40 Todd McCarthy
    It's hard to find the genuine heartfelt moments in The Lucky Ones.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Todd McCarthy
    Ultimately a mess of diverse ingredients that sorely could have used a rigorous screening process to eliminate all the chaff.
    • 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.
    • 42 Metascore
    • 40 Todd McCarthy
    Bloody but anemic story.
    • 28 Metascore
    • 40 Todd McCarthy
    Engagingly intriguing throughout most of its slightly overlong running time, and perhaps the strangely mesmerizing mood Lynch has orchestrated for the entire "Twin Peaks" undertaking should not be underestimated at this juncture. But the feeling persists that, to a considerable degree, Lynch is marking time with this project, creating new riffs and variations on themes he had already largely worked out.
    • 48 Metascore
    • 40 Todd McCarthy
    A bland and dour screen version of Sebastian Faulks' highly engrossing bestseller.
    • 53 Metascore
    • 40 Todd McCarthy
    By far the least ambitious, and certainly the least interesting, animated feature to come out of Disney in quite some time.
    • 41 Metascore
    • 40 Todd McCarthy
    Seems bent on creating equal-opportunity offense to many groups, but more often than not is appalling simply for its silliness and lack of comedic control.
    • 59 Metascore
    • 40 Todd McCarthy
    An artistically experimental, ideologically apocalyptic blast at American values that is as obvious in intent as it is murky in aesthetic achievement.
    • 58 Metascore
    • 40 Todd McCarthy
    The spectacle of a dissolute hedonist suddenly acquiring a heart and a conscience late in life is shamelessly, and shamefully, contrived in its emotional trajectory.
    • 47 Metascore
    • 40 Todd McCarthy
    Overstays its welcome by at least a half-hour after never getting very high off the ground in the first place.
    • 52 Metascore
    • 40 Todd McCarthy
    Saddled with a sentimentally "sincere" subject and lacking the stylistic and humorous cachet of the recent computer-animated smashes.
    • 45 Metascore
    • 40 Todd McCarthy
    A disappointingly routine thriller that prefers to lean on tired Hollywood conventions rather than to explore fresh dramatic and stylistic territory.
    • 41 Metascore
    • 40 Todd McCarthy
    Instead, director Jon Turteltaub has taken the easiest road, emerging with a soppy, soft-headed disease-of-the-week-style piece that sentimentalizes or opts out of every interesting issue the script raises.
    • 55 Metascore
    • 40 Todd McCarthy
    Del Toro clearly knows his way around the camera, but the shadowy eeriness that saturates the early going slowly becomes monotonous and winds up being just dull, and even partially obscures the action in the long underground finale.
    • 43 Metascore
    • 40 Todd McCarthy
    Even as she is the center of attention here in a double role, the jury is still out on Gomez's bigscreen potential; she's not very appealing or magnetic here, nor does she display any particular comic gifts for this sort of broad fare.
    • 46 Metascore
    • 40 Todd McCarthy
    Immortals is not only entirely without humor, but is dominated by a lot of huffing and puffing, thunderous self-importance and windy Socratic quotations about the immortality and divinity of men's souls. You just have to roll your eyes after a while.
    • 42 Metascore
    • 40 Todd McCarthy
    Teasingly enjoyable rubbish through the first hour, Orphan becomes genuine trash during its protracted second half.
    • 57 Metascore
    • 40 Todd McCarthy
    Cute and clever though the plot may be, everything is played out in the broadest possible terms without an iota of nuance or subtlety.
    • 40 Metascore
    • 40 Todd McCarthy
    This botched remake of "The Day the Earth Stood Still" seriously dishonors the seriously fine 1951 sci-fi landmark on which it's based.

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