Todd McCarthy

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For 1,541 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 1.1 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Boyhood
Lowest review score: 0 Being Human
Score distribution:
1541 movie reviews
    • 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.
    • 57 Metascore
    • 50 Todd McCarthy
    A game, disarming lead performance from Jess Weixler, who won a jury acting prize at Sundance, goes some way toward making palatable this mish-mash, whose provocative nature could carve out a certain commercial niche.
    • 57 Metascore
    • 50 Todd McCarthy
    A mostly formulaic approach that becomes more disappointing as the yarn unwinds.
    • 56 Metascore
    • 50 Todd McCarthy
    This ultra-slick, fantasy-inducing visit to an international wonder world of wealth and deception plays more like an inventory of thieving and gambling techniques than a captivating diversion, even if it's hard not to be voyeuristically pulled in by some of its ruses.
    • 66 Metascore
    • 50 Todd McCarthy
    Never less than watchable and loaded with trademark negativity so extreme it's sometimes funny, the new film is nonetheless saddled with a protagonist so narrowly and unlikably presented that, in the end, he doesn't seem worth the time devoted to him.
    • 41 Metascore
    • 50 Todd McCarthy
    Good for a few lascivious titters but quite lacking in the sort of comic bite and social satire one hopes for in the work of Mike Nichols.
    • 55 Metascore
    • 50 Todd McCarthy
    Can be taken to task for its overt point-making, lackluster style and some late-on dramatic contrivances seemingly dragged in to provide a little violence.
    • 56 Metascore
    • 50 Todd McCarthy
    This punishingly predictable tale will test whether sci-fi action fanboys can stomach having their cherished genre infiltrated by sentimental hokum about a down-on-his-luck dad and his spunky long-lost son.
    • 59 Metascore
    • 50 Todd McCarthy
    The yarn's emotional undercurrents never take hold, resulting in a picture that leaves one thinking less about the fates of the characters than about how the actors had to spend most of their working days soaking wet.
    • 38 Metascore
    • 50 Todd McCarthy
    The Old West is portrayed as a venal loony bin in Sweetwater, a handsomely designed, occasionally funny but ultimately empty female vengeance yarn.
    • 40 Metascore
    • 50 Todd McCarthy
    Lack of much substance or dramatic payoff makes the whole significantly less than sum of its parts.
    • 58 Metascore
    • 50 Todd McCarthy
    A potentially exceptional story is told in a flatly unexceptional manner.
    • 65 Metascore
    • 50 Todd McCarthy
    The overall enterprise, for all its intrigue and visceral impact, feels overly thought out, affected and forced in its stylization.
    • 57 Metascore
    • 50 Todd McCarthy
    Some privileged nature footage from the African rain forest is dishonored by deeply silly narration in Chimpanzee.
    • 60 Metascore
    • 50 Todd McCarthy
    Yes, it's a cartoon, but it's conspicuously unmodulated, with the volume set on high and the pacing all but pushed to fast-forward.
    • 54 Metascore
    • 50 Todd McCarthy
    Except for the fact that virtually every shot, chop or stab the good guys make hits its mark to make the bad guys quickly drop like toy soldiers, the climactic showdown delivers what it needs to action-wise, leading to a satisfactory wrap-up.
    • 41 Metascore
    • 50 Todd McCarthy
    It feels much more like a shameless reshuffle of "The Princess Diaries."
    • 51 Metascore
    • 50 Todd McCarthy
    The film only intermittently displays the snap, precision and stylistic smarts a mixed-tone project like this requires; a half-good effort is not enough where buoyancy and a sly-to-mean spiritedness are required at all times.
    • 32 Metascore
    • 50 Todd McCarthy
    A half-absorbing, half-ridiculous techno-thriller that often goes too far in search of audience-rousing effects.
    • 59 Metascore
    • 50 Todd McCarthy
    A humans vs. robots saga that feels machine-made, I, Robot looks to have been assembled from the spare parts of dozens of previous sci-fi pictures.
    • 27 Metascore
    • 50 Todd McCarthy
    A certain integrity and seriousness of intent gleams through, but Nina is just too big a subject, and talent, to be compressed into such a small package.
    • 55 Metascore
    • 50 Todd McCarthy
    As rich in period and historical background as it is deficient in fresh dramatic and thematic ideas.
    • 48 Metascore
    • 50 Todd McCarthy
    Deftly playing Tina Fey's feminist-icon mother, Lily Tomlin all but steals Admission, a knowing but uneven comedy about the neuroticism of the college-admission process on both sides of the equation.
    • 43 Metascore
    • 50 Todd McCarthy
    Physicality of the second half, then, will keep the audience going, but it is not quite sufficient to camouflage the elemental silliness of storyline.
    • 53 Metascore
    • 50 Todd McCarthy
    As novel and absorbing as In Time is in several respects, however, Andrew Niccol's latest conception of an altered but still recognizable future feels undernourished in other ways that are not as salutary, preventing the film from fulfilling its strong inherent promise.
    • 56 Metascore
    • 50 Todd McCarthy
    W.
    For a film that could have been either a scorching satire or an outright tragedy, W. is, if anything, overly conventional, especially stylistically.
    • 59 Metascore
    • 50 Todd McCarthy
    A less raucous and more serious-minded neighborhood comedy than its entertaining predecessor.
    • 57 Metascore
    • 50 Todd McCarthy
    A bold rethinking of a familiar old story and striking design elements are undercut by a draggy midsection and undeveloped characters in Snow White and the Huntsman.
    • 45 Metascore
    • 50 Todd McCarthy
    Whereas Peckinpah managed not only to raise hackles but to get under the skin, Lurie manages only the former, which reduces the material to the level of sensation-mongering.
    • 38 Metascore
    • 50 Todd McCarthy
    The picture is stronger the closer it sticks to the streets and raw emotions and the more it avoids routine dramatic crutches and forced comedy.
    • 47 Metascore
    • 50 Todd McCarthy
    This comically intended battle of the species is family entertainment for families that will buy anything.
    • 76 Metascore
    • 50 Todd McCarthy
    The audaciousness that marked Todd Haynes’ earlier work has been supplanted by self-important preachiness in Safe.
    • 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.
    • tbd Metascore
    • 50 Todd McCarthy
    First-time director McMurray, who worked as an associate producer on Fruitvale Station, does a decent job of staging the action and maintaining viewer attention on the straight-line story. But there’s no subtext, investigation of his characters’ various stories or motivations for doing what they’re doing. It’s a very shallow film.
    • 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
    • 75 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.
    • 47 Metascore
    • 40 Todd McCarthy
    Over-produced and under-thought-out, this unconscionably elaborate attempt at an old-fashioned Gothic thriller looks great but is beyond silly.
    • 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.
    • 48 Metascore
    • 40 Todd McCarthy
    The puzzle of how the various personal and narrative pieces will eventually fit together exerts a smidgen of interest, but the characters are so dour and un-dimensional as to invite no curiosity about them.
    • 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.
    • 37 Metascore
    • 40 Todd McCarthy
    The leading man aside, a fine cast is thoroughly wasted in a tale that centers on old-fashioned Cold War-style conflict rather than the sort of terrorist drama that's more pertinent today.
    • 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."
    • 56 Metascore
    • 40 Todd McCarthy
    A small, sympathetic story of a teenage girl’s rough coming out is smothered by a pile of far-fetched melodrama, a loathsomely obnoxious male lead character and far too much unsteadicam visual randomness in First Girl I Loved.
    • 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.

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