Todd McCarthy

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For 1,570 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 0.6 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 0 Being Human
Score distribution:
1570 movie reviews
    • 27 Metascore
    • 40 Todd McCarthy
    A contrived but entirely workable premise is given a well-tooled treatment in Sweet November, a femme-slanted doomed romance with a heavily calculated feel to it.
    • 52 Metascore
    • 40 Todd McCarthy
    Recycles familiar adventure and cartoon devices with minimal wit and flair, and the lack of imagination will seem all the more dramatic to audiences in comparison to the winningly sophisticated "Shrek."
    • 52 Metascore
    • 40 Todd McCarthy
    Saddled with a sentimentally "sincere" subject and lacking the stylistic and humorous cachet of the recent computer-animated smashes.
    • 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.
    • 52 Metascore
    • 40 Todd McCarthy
    Will serve as an excellent gauge of any viewer's tolerance level for schmaltzy contrivance and manipulation.
    • 38 Metascore
    • 40 Todd McCarthy
    As overblown as it is overlong, Bad Boys II is an enervating case of more is less.
    • 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.
    • 55 Metascore
    • 40 Todd McCarthy
    Could scarcely be more dazzling on a purely visual level, but it's mortally anemic in the story, character and thematic departments.
    • 70 Metascore
    • 40 Todd McCarthy
    Achieves some glancing poetic effects during its first hour, but becomes gross and exploitative during the shooting rampage of the final act.
    • 57 Metascore
    • 40 Todd McCarthy
    At nearly three hours, however, it rather overstays its welcome, trying the patience even as it sustains intrigue regarding its final revelations.
    • 41 Metascore
    • 40 Todd McCarthy
    The spectacle of Kenneth Branagh and Judy Davis doing over-the-top Woody Allen impersonations creates a neurotic energy meltdown in Celebrity, a once-over-lightly rehash of mostly stale Allen themes and motifs.
    • 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."
    • 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.
    • 49 Metascore
    • 40 Todd McCarthy
    Harmless tale of the giant pooch helping out some itinerant performing animals while longing for home will go down smoothly with the preschool faithful, but anyone over 5 will feel antsy even given the brief running time.
    • 60 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.
    • 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.
    • 35 Metascore
    • 40 Todd McCarthy
    An empty shell.
    • 67 Metascore
    • 40 Todd McCarthy
    Pic fails to provide any hard facts or make any incriminating connections that a reasonably informed person doesn't already know about, so intellectually Moore is largely preaching to the converted in this blatant cinematic 2004 campaign pamphlet.
    • 44 Metascore
    • 40 Todd McCarthy
    A well-upholstered but hopelessly contrived romantic comedy, Picture Perfect is too ineffectual to tickle either the funnybone or the heartstrings.
    • 20 Metascore
    • 40 Todd McCarthy
    Series regulars Chevy Chase, Beverly D'Angelo and Randy Quaid (who joined for "Christmas Vacation") are all back for more, and thank God for Quaid, who injects a few bracing shots of mangy humor into what is otherwise a lukewarm brew.
    • 48 Metascore
    • 40 Todd McCarthy
    Short on real drama and incident and long on tedium.
    • 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."
    • 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.
    • 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.
    • 30 Metascore
    • 40 Todd McCarthy
    If auds swallow this odoriferous exercise in calculated career repositioning, they'll swallow anything.
    • 36 Metascore
    • 40 Todd McCarthy
    Satisfying neither as character study nor as straight-ahead actioner.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Todd McCarthy
    Without Watts, Scott Coffey's feature-length expansion of his identically titled short wouldn't amount to much.
    • 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.
    • 46 Metascore
    • 40 Todd McCarthy
    The subject being race relations, Manderlay is bound to stir considerable debate in intellectual circles, but given the director's abstract style and use of characters to enact an agenda, it's a discussion that will exclude the general public, who will ignore it as they did "Dogville."
    • 54 Metascore
    • 40 Todd McCarthy
    None of the characters is given much depth or meaningful backgrounding, leaving the capable thesps with plenty of anguish and emotion to play but not much else.
    • 37 Metascore
    • 40 Todd McCarthy
    Overstuffed and fatally miscast, All the King's Men never comes to life.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 40 Todd McCarthy
    If you're going to ask an audience to sit through a three-hour, nine-minute rendition of an oft-told story, it would help to have a strong point of view on your material and an urgent reason to relate it. Such is not the case with Wyatt Earp, a handsome, grandiose gentleman's Western that tries to tell evenhandedly more about the famous Tombstone lawman than has ever before been put onscreen.
    • 54 Metascore
    • 40 Todd McCarthy
    Rather like a cross between "Up in Smoke" and an episode of "The Jeffersons, Friday is a crudely made, sometimes funny bit of porchfront humor from the 'hood.
    • 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.
    • 55 Metascore
    • 40 Todd McCarthy
    Result is still innocuously mild and inconsequential.
    • 46 Metascore
    • 40 Todd McCarthy
    A dramatic situation that should be wrenching is mostly tedious in Reservation Road.
    • 45 Metascore
    • 40 Todd McCarthy
    Without the pleasure of watching Cate Blanchett continue the role that launched her to stardom, there would be little to recommend this latest of many cinematic and television accounts of the celebrated monarch's life.
    • 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.
    • 34 Metascore
    • 40 Todd McCarthy
    Conventional where it should be bold and mild where it should be wild, 10,000 BC reps a missed opportunity to present an imaginative vision of a prehistoric moment.
    • 53 Metascore
    • 40 Todd McCarthy
    It's hard to find the genuine heartfelt moments in The Lucky Ones.
    • 54 Metascore
    • 40 Todd McCarthy
    An annoying example of self-therapy posing as art.
    • 41 Metascore
    • 40 Todd McCarthy
    Oddly misanthropic, occasionally amusing but thoroughly cheerless holiday attraction that is in no way a family film.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Todd McCarthy
    Worst of all, it just feels tired and recycled.
    • 42 Metascore
    • 40 Todd McCarthy
    Teasingly enjoyable rubbish through the first hour, Orphan becomes genuine trash during its protracted second half.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 40 Todd McCarthy
    It's a very academic movie about academics that belongs in academia, not movie theaters.
    • 45 Metascore
    • 40 Todd McCarthy
    Half formulaic and half simply unimaginative.
    • 43 Metascore
    • 40 Todd McCarthy
    The constant repetition of these shock tactics, in lieu of genuine suspense, makes The Wolfman feel cheap, despite the vast amounts obviously spent on Rick Heinrichs' opulent production design, the extensive visual effects, the more-than-effective special makeup effects, Milena Canonero's luxurious costumes, Danny Elfman's insistent score and the tony cast.
    • 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
    This wan, mundane coming-of-ager focuses on kids enacting a pale imitation of '50s car-centered, "American Graffiti"-style time-killing, with the impediment of exceptionally dull dialogue.
    • 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.
    • 57 Metascore
    • 40 Todd McCarthy
    Spielberg is such a talented director it’s a shame to see him lose all sense of subtlety and nuance.
    • 54 Metascore
    • 40 Todd McCarthy
    Nocturnal setting, uneven tone, abrasive score and only fitfully successful attempts at humor create a generally grim atmosphere, occasionally leavened by goofy ideas and flashes of explosive action.
    • Variety
    • 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.
    • 27 Metascore
    • 40 Todd McCarthy
    Clearly nothing but a paycheck project for all concerned, this is definitely the least and hopefully the last of a franchise that started amusingly enough a decade ago but has now officially overstayed its welcome.
    • 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.
    • 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.
    • 28 Metascore
    • 40 Todd McCarthy
    The central battle between fearsomely independent corporate mavericks and hostile big government has been updated in a half-baked, unconvincing way that's exacerbated by button-pushing TV-style direction, threadbare production values and blah performances except for that of Taylor Schilling in the central role.
    • 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.
    • 30 Metascore
    • 40 Todd McCarthy
    Although one would never have expected to find her in a film like this, Dawson, by dint of enthusiasm, is the only actor who rises above the material with her dignity intact.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Todd McCarthy
    This is a relentlessly mechanical piece of work that will not or cannot take the imaginative leaps to yield even fleeting moments of awe, wonder or charm.
    • 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.
    • 58 Metascore
    • 40 Todd McCarthy
    After a strong run of films during the past decade, David Cronenberg blows a tire with Cosmopolis.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Todd McCarthy
    The comedy just isn't that funny and the enterprise never finds an exact tone.
    • 54 Metascore
    • 40 Todd McCarthy
    Not the worst but is very far from the best film the star has made in his career.
    • 44 Metascore
    • 40 Todd McCarthy
    A miscast James Franco and a lack of charm and humor doom Sam Raimi's prequel to the 1939 Hollywood classic. Oz the Wimpy and Weak would be more like it.
    • 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.
    • 44 Metascore
    • 40 Todd McCarthy
    Director Rawson Marshall Thurber adequately manages the mechanics demanded here but adds no finesse or grace notes.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Todd McCarthy
    Unfortunately, the film never begins to reveal what's really going on inside Joe Albany.
    • 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.
    • 30 Metascore
    • 40 Todd McCarthy
    A highly homogenized and sanitized remake that's little better than its 1981 predecessor.
    • 39 Metascore
    • 40 Todd McCarthy
    A female solidarity adultery comedy that's three parts embarrassing farce to one part genuinely comic discharge.
    • 75 Metascore
    • 40 Todd McCarthy
    As usual, there are only fragments of thoughts, nothing is developed, and it will be left only to the tiny band of die-hard Godardians to try to make any meaningful sense of the disparate fragments stitched together here.
    • 42 Metascore
    • 40 Todd McCarthy
    The visuals are undeniably dreamy, but they mostly seem borrowed from other filmmakers’ dreams.
    • 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.
    • 52 Metascore
    • 40 Todd McCarthy
    Unfortunately, Barthes brings nothing new to the familiar story.
    • 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.
    • 40 Metascore
    • 40 Todd McCarthy
    Even with all its familiar action tropes, less-than-fresh special effects and loopy plotting, the most depressing element in the Wachowski siblings' latest sci-fi mash is that, as they conceive it, human society has been around for more than a billion years but is still presided over by a rivalrous British-style royal family that treacherously behaves as if it were the 1550s.
    • 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.
    • 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.

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