Todd McCarthy
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For 1,408 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 2.6 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Foxcatcher
Lowest review score: 0 Being Human
Score distribution:
1,408 movie reviews
    • 73 Metascore
    • 70 Todd McCarthy
    Credibly and absorbingly relates the tale of journalistic fraud perpetrated by young writer Stephen Glass at the New Republic five years back.
    • 60 Metascore
    • 70 Todd McCarthy
    "Boogie Nights" meets "Goodfellas" in Middle Men, a relentlessly sleazy but undeniably intriguing tour of the bottom-feeding netherworld where porn and organized crime do their mutual bump-and-grind.
    • 53 Metascore
    • 70 Todd McCarthy
    The film succeeds in that it provides a more vivid sense of this sort of 19th century childhood -- and Lincoln’s youth in particular -- than most people would have had before.
    • 59 Metascore
    • 70 Todd McCarthy
    There is much here of interest to aficionados of the great author as well as to those curious about the complicated relationship between sisters Mariel and the late Margaux.
    • 66 Metascore
    • 70 Todd McCarthy
    A whimsical piece of deadpan drollery, Whisky plays like Aki Kaurismaki, South American style.
    • 71 Metascore
    • 70 Todd McCarthy
    Their scenes together are the film's best, with Theron and Oswalt, who have very different tempi and temperatures as performers, parrying and thrusting with great expertise.
    • 55 Metascore
    • 70 Todd McCarthy
    Ron Howard has never before made a picture this raw and alive. At the same time, this tale of the desperate pursuit of the kidnappers of young women makes for a fundamentally grim and unpleasant experience.
    • 48 Metascore
    • 70 Todd McCarthy
    As a rich, gum-chewing matron who tools around in her canary-yellow Rolls-Royce, Flanagan is the picture's real scene-stealer.
    • 61 Metascore
    • 70 Todd McCarthy
    An intermittently powerful and meticulously crafted drama that falls short of its full potential due to considerable over-length and some shopworn, simplistic notions at its center.
    • 48 Metascore
    • 70 Todd McCarthy
    Virtually bursts with visual goodies, and writer-director Stephen Sommers scarcely allows the actors, or the audience, a moment to take a breath during the nonstop action of the final hour.
    • 48 Metascore
    • 70 Todd McCarthy
    Good silly fun, Alien Trespass is a dead-on spoof of cheapo '50s sci-fi programmers done with plenty of self-deprecating humor.
    • 72 Metascore
    • 70 Todd McCarthy
    Respectable when it should be thrilling, honorable when it should be rough and ready.
    • 70 Metascore
    • 70 Todd McCarthy
    Given the challenge of solving a problem like Bathsheba, Mulligan succeeds, more than Christie did, in providing an answer.
    • 65 Metascore
    • 70 Todd McCarthy
    Remarkably eerie yet annoyingly larded with cheap horror-film shock effects, I Am Legend stands as an effective but also irksome adaptation of Richard Matheson's classic 1954 sci-fi novel.
    • 60 Metascore
    • 70 Todd McCarthy
    While the director's avid fans may be disappointed, upscalish mainstream auds, particularly women, will eat up this well-acted, emotionally focused adaptation of Jennifer Weiner's popular novel.
    • 62 Metascore
    • 70 Todd McCarthy
    Streep single-handedly elevates this sitcomy but tolerably entertaining adaptation of Lauren Weisberger's bestselling 2003 roman a clef about a personal assistant's year of chic hell under the thumb of the dragon lady of the fashion world.
    • 78 Metascore
    • 70 Todd McCarthy
    Clever and jokey in a vaudeville sort of way, but lacks the heart and sheer imagination of the company's best work for Disney, "Toy Story 2" and "A Bug's Life."
    • 71 Metascore
    • 70 Todd McCarthy
    Ultimately, however, the film's ambition, urgency and acute observations prevail over the many stock elements to forge an estimable work that is notably serious and analytical for a Hollywood-produced film in this day and age.
    • 40 Metascore
    • 70 Todd McCarthy
    A consistently amusing action romp.
    • 57 Metascore
    • 70 Todd McCarthy
    Mama represents a throwback and a modest delight for people who like a good scare but prefer not to be terrorized or grossed out.
    • 56 Metascore
    • 70 Todd McCarthy
    Stewart, selected for Marylou five years ago on the basis of her striking debut in "Into the Wild," is perfect in the role, takes off her clothes more than once and nearly always seems to be breaking a sweat, which kicks the sexiness quotient up high.
    • 51 Metascore
    • 70 Todd McCarthy
    Made mainly by Yanks and New York-based Dominicans, the vibrant film bursts with local color and trades in very specific aspects of criminality, island-style.
    • 82 Metascore
    • 70 Todd McCarthy
    Genuinely funny, randy and moving by turns, breezily enjoyable throughout.
    • 51 Metascore
    • 70 Todd McCarthy
    Given all the ways a project like this could have gone wrong, the result is surprisingly good on several fronts, beginning with a shrewd structure that fosters an intelligent dual perspective on the public and private aspects of the Deep Throat phenomenon.
    • 77 Metascore
    • 70 Todd McCarthy
    Enhanced by a splendidly atmospheric recreation of the Lower East Side, the intimately focused work is anchored by another superior performance by Marion Cotillard.
    • 34 Metascore
    • 70 Todd McCarthy
    The teasing tale is told with such dispatch it will carry willing audiences along; genre staples of action, macho attitude and corruption through the ranks are delivered intact.
    • 74 Metascore
    • 70 Todd McCarthy
    Energetic, humorous and not too cloying, as well as the first Hollywood film in many years to warn of global cooling rather than warming, this tuneful toon upgrades what has been a lackluster year for big studio animated fare.
    • 61 Metascore
    • 70 Todd McCarthy
    Adaptation of Ian McEwan's 1997 novel takes a surprising number of liberties with the text, given the author's stature, but his name on the credits as associate producer would suggest his stamp of approval.
    • 39 Metascore
    • 70 Todd McCarthy
    Serves up all the requisite elements with enough self-deprecating humor to suggest it doesn't take itself too seriously.
    • 71 Metascore
    • 70 Todd McCarthy
    Has plenty of problems. But most stem from a young filmmaker overswinging on his first time up to the plate and hitting a deep fly out rather than a home run.
    • 69 Metascore
    • 70 Todd McCarthy
    The film’s small scale is more than compensated for by its insights into adolescent awareness, the passions stoked by global causes and the moral hypocrisy of the ideologically righteous.
    • 61 Metascore
    • 70 Todd McCarthy
    French farce is alive and reasonably well in 2 Days in New York, a madcap inter-family romp that deftly keeps many comic balls in the air for a good hour, before dropping some in the final stretch.
    • 61 Metascore
    • 70 Todd McCarthy
    Lively and quite funny without being obnoxious, this follow-up smoothly mixes the original's New York Zoo escapees with a number of engaging new characters.
    • 55 Metascore
    • 70 Todd McCarthy
    Bill Murray as FDR? It takes a few minutes to get used to, but once he settles into the role of the 32nd president, the idiosyncratic comic actor does a wonderfully jaunty job of it in Hyde Park on Hudson.
    • 53 Metascore
    • 70 Todd McCarthy
    The uniformly winning cast, led by Steve Martin, Jack Black and Owen Wilson, and the ultra-accessible touch provided by director David Frankel provide for a constant steam of gentle mirth, if not huge laughs.
    • 63 Metascore
    • 70 Todd McCarthy
    Careens from decade to decade, and from relative dramatic realism to frequent hilarity, in often-winning fashion.
    • 72 Metascore
    • 70 Todd McCarthy
    A compelling look at the great cinematographer Haskell Wexler by his photojournalist son Mark.
    • 64 Metascore
    • 70 Todd McCarthy
    A steady supply of spiky humor and a game cast keep this cooking most of the way, though the pacing could have been tighter and the film seems as if it's about to end two or three times before it actually does.
    • 53 Metascore
    • 70 Todd McCarthy
    A self-described abstinence comedy that is funny, sexy and silly in equal measure.
    • 78 Metascore
    • 70 Todd McCarthy
    Even if the film itself is relatively conventional, its exposure of a squalid city's most benighted neighborhood and its introduction of hope into nearly hopeless lives give it strong human interest value.
    • 72 Metascore
    • 70 Todd McCarthy
    The wealth of behavioral detail and observational humor make for some rewarding drama that will resonate with many viewers.
    • 55 Metascore
    • 70 Todd McCarthy
    No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.
    • 60 Metascore
    • 70 Todd McCarthy
    The film is rugged, skilled, relentless, determined, narrow-minded and focused, everything that a soldier must be when his life is on the line.
    • 70 Metascore
    • 70 Todd McCarthy
    A modern immorality tale with a keen, observant edge.
    • 76 Metascore
    • 70 Todd McCarthy
    As a study of stasis and of people conscious of not living the lives they had imagined for themselves, the picture offers a bracing undertow of seriousness beneath the deceptively casual, dramatically offhand surface.
    • 72 Metascore
    • 70 Todd McCarthy
    Entertaining and fabulously imaginative in many ways, this second bigscreen rendition of the late author's modest morality tale on the wages of unbridled excess sports excesses of its own.
    • 51 Metascore
    • 70 Todd McCarthy
    Tries to mix the messy realities of mismatched relationships with the structural neatness of a musical-comedy view of the world, with mild, occasionally diverting results.
    • 38 Metascore
    • 70 Todd McCarthy
    Generates tension from the get-go, albeit of an increasingly unpleasant variety, on its way to a disappointingly generic climax.
    • tbd Metascore
    • 70 Todd McCarthy
    [An] accessible and informative close-up documentary.
    • 63 Metascore
    • 70 Todd McCarthy
    Megamind is snappy good fun.
    • 52 Metascore
    • 70 Todd McCarthy
    Chick agreeably captures the feel and flow of on-the-move young professionals in New York.
    • 59 Metascore
    • 70 Todd McCarthy
    Grant carries the day as the fortysomething lad still living off his youth and just about getting away with it.
    • 51 Metascore
    • 70 Todd McCarthy
    Unusual for this sort of thing, Snitch is a film after which you remember the characters and actors more than the big action moments.
    • 81 Metascore
    • 70 Todd McCarthy
    Baker does an amazingly sensitive job with the ticklish part and is joined in this by Read, who is superlative as his inquisitive young son.
    • 54 Metascore
    • 70 Todd McCarthy
    Undeniably funny, outrageous and boundary-pushing, this further documentation of Sacha Baron Cohen's sheer nerve will draw an abundant share of "Borat" fans.
    • 77 Metascore
    • 70 Todd McCarthy
    Nunez achieves a rare, and rarely earned, emotional depth that rewards the moderate demands he makes on contemporary viewers' short attention spans.
    • 66 Metascore
    • 70 Todd McCarthy
    Schrader directs with a very smooth hand, providing a good-natured and frequently amusing spin to eventually grim material that aptly reflects the protagonist's almost unfailing good humor.
    • 56 Metascore
    • 70 Todd McCarthy
    A film of chuckles, smiles and light amusement rather than big laughs, galvanizing excitement and original invention.
    • 66 Metascore
    • 70 Todd McCarthy
    Tony literary material, a fine cast and intelligent script and direction.
    • 81 Metascore
    • 70 Todd McCarthy
    A well-acted and crafted character piece that's a bit too calculated and cutesy for its own good.
    • 70 Metascore
    • 70 Todd McCarthy
    For sheer plotting and audience involvement, this is a notch above any of the other Avengers-feeding Marvel entries, the one that feels most like a real movie rather than a production line of ooh-and-ahh moments for fanboys.
    • 76 Metascore
    • 70 Todd McCarthy
    Director Alan Rudolph achieves fresh as well as humorous insights into family life and strategies for keeping a damaged relationship from expiring. But a tiresome final act proves trying.
    • 66 Metascore
    • 70 Todd McCarthy
    An often lively comedy-drama that lands some nice jabs at the mega-corp ethos, In Good Company makes for pretty good company until going soft when it counts.
    • 45 Metascore
    • 70 Todd McCarthy
    The picture has vitality, a fine cast and excellent craft
    • 46 Metascore
    • 70 Todd McCarthy
    Impressively made and well acted by an exceedingly attractive cast, this dark tale of ceaseless conflict is adult entertainment and will likely disappoint viewers expecting a "Camelot"-like love triangle.
    • 65 Metascore
    • 70 Todd McCarthy
    Moppet appeal of the present feature rests in three can't-miss concepts -- cool gadgets, the desire to see grownups disappear and space travel. Pic delivers on all three points and doesn't have to do a whole lot more.
    • 75 Metascore
    • 70 Todd McCarthy
    Those who see it at fests, and in carefully tailored specialized release, will be struck by the adroitness with which it addresses touchy issues, as well as by the outstanding performance of Ryan Gosling in the difficult leading role.
    • 69 Metascore
    • 70 Todd McCarthy
    Spiked with wonderfully funny sequences and some brilliantly original notions, The Big Lebowski, a pseudo-mystery thriller with a keen eye and ear for societal mores and modern figures of speech, nonetheless adds up to considerably less than the sum of its often scintillating parts.
    • 55 Metascore
    • 70 Todd McCarthy
    In nearly every scene, Wahlberg carries off the central role with what could be called determined elan.
    • 48 Metascore
    • 70 Todd McCarthy
    Although formulaic in design and programmed to meet its quota of laughs, the film makes a point of going beyond basic expectations into some legitimate aspects of mature friendships without getting soggy about it.
    • 74 Metascore
    • 70 Todd McCarthy
    This very New York tale is old-fashioned in good ways that have to do with solid storytelling, craftsmanship and emotional acuity.
    • 81 Metascore
    • 70 Todd McCarthy
    Lack of depth, complexity or strangeness make this a relatively routine entry for the director.
    • 49 Metascore
    • 70 Todd McCarthy
    Builds and sustains considerable interest through its unexpected characterizations, unusual milieu and atmospheric style.
    • 46 Metascore
    • 70 Todd McCarthy
    Pumping high-performance gas back into the series after a second lap sputter, third entry stays in high gear most of the way with several exhilarating racing sequences, and benefits greatly from the evocative Japanese setting.
    • 68 Metascore
    • 70 Todd McCarthy
    Stealing the show is Jane, whose rage-fueled rants and scarcely concealed mutterings are loaded with sarcastic bon mots that are delivered to the hilt by McDormand.
    • 56 Metascore
    • 70 Todd McCarthy
    Dee is an engaging, admirable lead character, and the striking, petite Beharie, in only her second screen role, is a real winner, bringing energy and fortitude to a woman who easily could have joined the ranks of society's victims and losers.
    • 79 Metascore
    • 70 Todd McCarthy
    Convincing as a portrait of a marginal man gone beyond the emotional pale.
    • 50 Metascore
    • 70 Todd McCarthy
    Agreeably prepared and attractively presented, this remake of the tasty 2001 German feature "Mostly Martha" bears too many earmarks of Hollywood packaging and emotional button-pushing, but doesn't go far wrong by closely sticking to the original's smart story construction.
    • 66 Metascore
    • 70 Todd McCarthy
    For all its far-fetched formulations, this new entry maintains more of a dramatic throughline and has the bonus of a villain played with unsparing meanness by Philip Seymour Hoffman.
    • 37 Metascore
    • 70 Todd McCarthy
    Aimed squarely at family audiences, the Wachowski Brothers' return behind the camera for the first time since the "Matrix" trilogy is a blur of video action painting and very loud sounds notable solely for its technical wizardry. In every other respect, it's pure cotton candy -- entirely non-nutritious but too sweet and pretty for young people to resist.
    • 67 Metascore
    • 70 Todd McCarthy
    It also expresses the anxiety and insecurity of comics conscious of the big issues in life they are expected either to avoid or make fun of in their work. Rogen and Goldberg take the latter approach here, in an immature but sometimes surprisingly upfront way one can interpret seriously. Or not.
    • 58 Metascore
    • 70 Todd McCarthy
    Wood's powerlessness to break out of the emotive straightjacket hands the picture to his Russian costars on a platter, and they run with it.
    • 68 Metascore
    • 70 Todd McCarthy
    Campbell Scott's latest foray behind the camera most excels as a subtly observed study of how the dynamics within a close-knit family can shift over time.
    • 58 Metascore
    • 70 Todd McCarthy
    A spectacular performance by teenage thesp Ellen Page elevates this disturbing slice of designer shocksploitation into a film that's impossible to dismiss on principle.
    • 64 Metascore
    • 70 Todd McCarthy
    An absurdist piece about a rural community of clueless cretins who careen through life like poorly played pinballs, Napoleon Dynamite represents the definition of the comedy of condescension and ridicule.
    • 56 Metascore
    • 70 Todd McCarthy
    There is plenty of bang-bang but very little kiss-kiss in Tomorrow Never Dies, a solid but somewhat by-the-numbers entry in the James Bond cycle.
    • 64 Metascore
    • 70 Todd McCarthy
    Has a gaudy pop-culture personality that perfectly suits its subject.
    • 75 Metascore
    • 70 Todd McCarthy
    This is a safe, serviceable, carefully crafted action drama in which the subversive seeds planted in the first story take welcome root.
    • 57 Metascore
    • 70 Todd McCarthy
    A fine cast further illuminates a felicitous script.
    • 54 Metascore
    • 70 Todd McCarthy
    This impeccably crafted piece of megabuck fantasy storytelling aims to pull off the tricky feat of significantly reworking the superhero format while still providing the expected tentpole-type entertainment thrills for the international masses.
    • 55 Metascore
    • 70 Todd McCarthy
    The Eagle is an engaging, if straightforward and one-dimensional.
    • 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.
    • 64 Metascore
    • 70 Todd McCarthy
    Succeeds far more often than not in delivering a credible, kaleidoscopic portrait of creative, and often famous, individuals.
    • 79 Metascore
    • 70 Todd McCarthy
    Binoche and Stewart seem so natural and life-like that it would be tempting to suggest that they are playing characters very close to themselves. But this would also be denigrating and condescending, as if to suggest that they’re not really acting at all.
    • 76 Metascore
    • 70 Todd McCarthy
    The psychological dimensions of the story remain underrealized, but the loaded central premise and intimate focus the film sustains combine for a very involving and dramatic piece of crime lore.
    • 59 Metascore
    • 70 Todd McCarthy
    This is a pure popcorn picture that benefits heavily from its trio of highly skilled, charismatic leading thesps, an unusual setting that provides plenty of visual stimulation, and a confrontational standoff that actually stems from a legitimately provocative premise.
    • 55 Metascore
    • 70 Todd McCarthy
    As much spectacle and action — minute-by-minute, frame-by-frame — as any movie anyone could think of. Zack Snyder’s huge, backstory-heavy extravaganza is a rehab job that perhaps didn’t cry out to be done but proves so overwhelmingly insistent in its size and strength that it’s hard not to give in.
    • 58 Metascore
    • 70 Todd McCarthy
    Fading Gigolo features enough strange narrative turns and modest laughs, not to mention a substantial role for Woody Allen as a very unlikely pimp, to provide a measure of curiosity value.
    • 60 Metascore
    • 70 Todd McCarthy
    Due to digital image manipulation that pushes the picture to the boundary between narrative and avant-garde filmmaking, slightly overlong effort is full of striking, fresh visual interludes showing cars, speed and the sensations surrounding the scene.
    • 42 Metascore
    • 70 Todd McCarthy
    A pretty skillfully handled domestic thriller about a criminal activity that, while always upsetting, is especially noxious now due to the too many recent tragic and highly publicized instances of it.
    • 70 Metascore
    • 70 Todd McCarthy
    With Mexican star Gael Garcia Bernal energetically playing a vulnerable graphic artist with a hyperactive imagination and little confidence with women, picture has an overriding quality of sweetness that will prove endearing to audiences, especially younger females.
    • 54 Metascore
    • 70 Todd McCarthy
    The look, styles, dialogue and attitudes all feel more 21st century than 1968, but this new Sparkle still sparkles more brightly than its 1976 namesake, which was a sort of rough draft for Dreamgirls.
    • 58 Metascore
    • 70 Todd McCarthy
    Disclosure is polite pulp fiction, a reasonable rendition of potentially risible material. This lavishly appointed screen version of Michael Crichton's page-turner about sexual harassment and corporate power has what it takes to deliver plenty of year-end bounty into Warner Bros.' coffers, although it might have been even more commercial had it been more shamelessly trashy.
    • 69 Metascore
    • 70 Todd McCarthy
    Visually stunning and strongly voiced, but doesn't take any real risks.
    • 44 Metascore
    • 70 Todd McCarthy
    This muscular thriller--led by Jason Statham, Clive Owen and Robert De Niro--strives to be a genuinely good film, but unwilling to let go of proven formulas, it falls short.
    • 73 Metascore
    • 70 Todd McCarthy
    The impact of spectacular action on striking international locales is moderated somewhat by the repetitive nature of the challenges faced by this rebooted team of American agents.
    • 64 Metascore
    • 70 Todd McCarthy
    Melfi comes up with any number of good and effective scenes and there’s plenty to enjoy in the performances.
    • 61 Metascore
    • 70 Todd McCarthy
    Comedically, everyone's on the same page here, which means that, even when things flag, more fun isn't far off.
    • 69 Metascore
    • 70 Todd McCarthy
    Crudely made, somewhat overlong and larded with plenty of things that don't work, pic stands as proof positive that a comedy can be far from perfect and still hit the bull's-eye if it delivers when it counts in its big scenes.
    • 64 Metascore
    • 70 Todd McCarthy
    Competently constructed and nicely acted by Kate Beckinsale and Vera Farmiga.
    • 68 Metascore
    • 70 Todd McCarthy
    Constant shock cuts and souped-up music and sound effects will keep small fry in a state of moderate petrification, while the trio of tweeny leads plus attitude-redolent cohorts will make teens feel welcome.
    • 74 Metascore
    • 70 Todd McCarthy
    A visually mangy but frequently hilarious low-budgeter.
    • 57 Metascore
    • 70 Todd McCarthy
    An outstanding lean film trapped in a fat film's body.
    • 58 Metascore
    • 70 Todd McCarthy
    This smooth inside job benefits from heightened bonhomie among the players, fab Euro locations and a diminished obligation to stick to the heist genre boilerplate.
    • 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.
    • 67 Metascore
    • 70 Todd McCarthy
    Bears some telltale signs of Pixar's trademark smarts, but still looks like a mutt compared to the younger company's customary purebreds.
    • 50 Metascore
    • 70 Todd McCarthy
    Fronted by an outstanding performance from Catherine Keener, who is onscreen, often by herself, at almost every moment, this challenging but not difficult second feature from Mark Jackson parcels out its information in gradual increments, forcing the viewer to infer rather simply receive most narrative information.
    • 74 Metascore
    • 70 Todd McCarthy
    Just as somber as "The Good Shepherd," the most recent domestic spy drama, but more tightly focused, Breach absorbingly zeroes in on how the FBI nailed the most damaging turncoat in American history.
    • 70 Metascore
    • 70 Todd McCarthy
    Aside from Dillon, who brightens every scene he's in, the delightful surprise here is Selleck, who brings wonderfully mischievous, energizing and self-deprecating qualities to the role of the dirt-digging but ultimately on-the-level broadcaster.
    • 48 Metascore
    • 60 Todd McCarthy
    With the combination of mobster characters and heavily R&B, hip-hop and disco/soul tune orientation of the soundtrack, pic has a more streetwise feel than most animated fare, which is not to say that it has street smarts.
    • 30 Metascore
    • 60 Todd McCarthy
    Robinson's script is alive to the material's literary roots, although there is a sense that the brakes have been applied so as not to push into territory perceived as too esoteric for American teenagers.
    • 61 Metascore
    • 60 Todd McCarthy
    Odd mixture of ultra-sleek visuals, psychological probing, "Paper Moon"-like father-daughter swindling, self-improvement efforts and abrupt tough-guy stuff keeps the picture percolating, even if it seems too artificial to genuinely convince on an emotional or dramatic level.
    • 66 Metascore
    • 60 Todd McCarthy
    Craig Zobel effectively sets all its surface parts in motion but, crucially, doesn’t sufficiently develop that turbulent undercurrents of tension and intrigue that are called for in the hothouse circumstances.
    • 49 Metascore
    • 60 Todd McCarthy
    Elaborate, sporadically amusing but awfully lightweight followup, which has close to the same tone as its predecessor but makes one realize that freshness had a lot to do with its impact.
    • 29 Metascore
    • 60 Todd McCarthy
    Although The Postman conveys a thoroughly imagined vision of a future society, its basic concerns are actually far from those of traditional sci-fi, as it quickly comes to feel more like a Western than anything else.
    • 58 Metascore
    • 60 Todd McCarthy
    Highlighted by a strong and sensual performance from Salma Hayek as the doomed heroine, elegant pic's muted quality and the central character's vexingly contrary behavior will keep auds from connecting with characters who themselves have trouble establishing bonds.
    • 34 Metascore
    • 60 Todd McCarthy
    This paean to youthful irresponsibility applies the right crude and rude 'tude to its bulging sack of gags to have the desired effect on its target audience.
    • 44 Metascore
    • 60 Todd McCarthy
    A heaping serving of metaphysical gobbledygook wrapped in a physically striking package.
    • 65 Metascore
    • 60 Todd McCarthy
    A minor affair, a confection based on dalliances and the way a set of sophisticated theater people handle them, that lacks true distinction.
    • 65 Metascore
    • 60 Todd McCarthy
    There is a trumped-up quality to the action climaxes that is disappointingly perfunctory, and the story's final revelation is simultaneously far-fetched and unsurprising.
    • 69 Metascore
    • 60 Todd McCarthy
    Intelligent scripting, solid thesping and eye-catching location shooting aren't enough to make a compelling modern film of The Painted Veil.
    • 45 Metascore
    • 60 Todd McCarthy
    Mildly engaging but very far from being for 50 Cent what "8 Mile" was for Eminem, this lurchingly structured story of survival against the odds looks to get off to a strong start thanks to the singer's large following.
    • 62 Metascore
    • 60 Todd McCarthy
    Stories of resistance to oppression will never become obsolete, but this feels like a picture that should have been made a long time ago.
    • 38 Metascore
    • 60 Todd McCarthy
    After lightly going through the motions of a plot, it all ends up in the quarry, where assorted machinery provides the excuse for a parade of slapstick gags and amusement park-like predicaments that seem mostly lumbering.
    • 59 Metascore
    • 60 Todd McCarthy
    The mildly engaging silliness of its premise is never transformed into something more substantial, and the attempt at a fine-tuned "Clueless"-like tone is only sputteringly achieved.
    • 32 Metascore
    • 60 Todd McCarthy
    A desperately slight romantic comedy marked by contrived romance and little comedy.
    • 58 Metascore
    • 60 Todd McCarthy
    Cheesy homage to a level of horniness Austin Powers could only imagine will be a dream movie for many a teenage boy.
    • 58 Metascore
    • 60 Todd McCarthy
    A purist's delight, something the millions of die-hard fans of his Lord of the Rings trilogy will gorge upon. In pure movie terms, however, it's also a bit of a slog, with an inordinate amount of exposition and lack of strong forward movement...There are elements in this new film that are as spectacular as much of the Rings trilogy was, but there is much that is flat-footed and tedious as well, especially in the early going.
    • 51 Metascore
    • 60 Todd McCarthy
    A creepy, well-acted story of contagious evil, Apt Pupil has more than enough chilling dramatic scenes to rivet the attention but suffers from some hokey contrivances and underlying insufficiencies of motivation.
    • 56 Metascore
    • 60 Todd McCarthy
    Despite a sensationally attractive cast and an array of well-staged combat scenes presented on a vast scale, Wolfgang Petersen's highly telescoped rendition of the Trojan War lurches ahead in fits and starts for much of its hefty running time, to OK effect.
    • 82 Metascore
    • 60 Todd McCarthy
    Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.
    • 71 Metascore
    • 60 Todd McCarthy
    A witty and sometimes surreal sci-fi comedy, Men in Black is a wild knuckleball of a movie that keeps dancing in and out of the strike zone.
    • tbd Metascore
    • 60 Todd McCarthy
    A comprehensive, personal and surprisingly engaging look at how film crews routinely work hours far beyond anything that can be considered safe, healthy or conducive to a balanced life.
    • 71 Metascore
    • 60 Todd McCarthy
    The only problem is that the great majority of screen time is devoted to the kind of loutish, drunken, small-minded, confrontational macho posturing that, in assorted ethnic stripes, has been paraded across the screen innumerable times in recent years.
    • 64 Metascore
    • 60 Todd McCarthy
    Although there is incident in the film's second half...it doesn't build to the level of compelling drama, leaving the film in a quiet, temperate realm that scarcely makes the pulse race.
    • 52 Metascore
    • 60 Todd McCarthy
    Although uneven and too deliberately obscure in meaning to be entirely satisfying, result remains sufficiently intriguing and startling to bring many of Lynch's old fans back on board for this careening ride.
    • 65 Metascore
    • 60 Todd McCarthy
    It is far from unpleasant to watch an attractive cast led by Kirsten Dunst parading around Versailles accoutered in Milena Canonero's luxuriant costumes to the accompaniment of catchy pop tunes. But the writer-director's follow-up to her breakthrough second feature, "Lost in Translation," is no more nourishing than a bonbon.
    • 59 Metascore
    • 60 Todd McCarthy
    But the film also has its turgid, dialogue-heavy stretches, and the leading performances, if acceptable, are not everything they needed to be to fully flesh out these elegant immortals.
    • 49 Metascore
    • 60 Todd McCarthy
    "Chinatown" it ain't, not in any department. On its own level, however, new pic generates a reasonable degree of intrigue.
    • 42 Metascore
    • 60 Todd McCarthy
    A feel-good film about death, a sitcom about mortality, "Ikiru" for meatheads. It's also a picture about two cancer patients confronting reality, and deciding how they want to spend their presumed last days, that has not an ounce of reality about it.
    • 76 Metascore
    • 60 Todd McCarthy
    [A] mostly engaging but only fitfully inspired serio-comedy.
    • 57 Metascore
    • 60 Todd McCarthy
    Francis Ford Coppola's take on the Dracula legend is a bloody visual feast. Both the most extravagant screen telling of the oft-filmed story and the one most faithful to its literary source, this rendition sets grand romantic goals for itself that aren't fulfilled emotionally, and it is gory without being at all scary.
    • 52 Metascore
    • 60 Todd McCarthy
    LaBute has had middling success at best, having come up with a passably engaging time-jumping romantic melodrama that at least grapples seriously with one of the novel's most potent themes.
    • 38 Metascore
    • 60 Todd McCarthy
    While this John Singleton-directed sequel provides a breezy enough joyride, it lacks the unassuming freshness and appealing neighborhood feel of the economy-priced original.
    • 60 Metascore
    • 60 Todd McCarthy
    It is unfortunate when such a difficult, ambitious film doesn't quite pay off after building up so much solid credit, but that is the case here. It is possible that the nature of the history under consideration is as responsible for this as any other single factor.
    • 71 Metascore
    • 60 Todd McCarthy
    Apart from startling, out-there comic turns by Robert Downey Jr. and Tom Cruise, however, the antics here are pretty thin, redundant and one-note.
    • 52 Metascore
    • 60 Todd McCarthy
    The generational mix of actors works well enough, although Campbell too often seems stranded with little to do until the climax.
    • 36 Metascore
    • 60 Todd McCarthy
    Serves up enough goofy pranks and fractured wordplay to keep the series purring along.
    • 67 Metascore
    • 60 Todd McCarthy
    An oddly schizophrenic fantasy thriller that ultimately succumbs to a fatal case of sentimentality.
    • 33 Metascore
    • 60 Todd McCarthy
    It's good to see Schwarzenegger doing his thing again after what, for him, was a long sabbatical.
    • 75 Metascore
    • 60 Todd McCarthy
    More than the film that surrounds him, Jack Black is worth the price of admission in Bernie, an oddball May-December true life crime story that would have profited from being a whole lot darker and full-bodied than it is.
    • 63 Metascore
    • 60 Todd McCarthy
    Brad Pitt delivers a capable performance in an immersive apocalyptic spectacle about a global zombie uprising.
    • 52 Metascore
    • 60 Todd McCarthy
    This Spanish-lingo farce plays very much like an SNL sketch. The only problem is that it packs about as many laughs into its 85 minutes as a good skit does in eight or 10.
    • 47 Metascore
    • 60 Todd McCarthy
    Lovingly and knowledgeably made by director Tony Bill, who got his pilot's license as a teenager, pic nonetheless has a lightweight, airbrushed feel; despite the brutal dogfights and inevitable deaths, there's little gravity or resonance.
    • 71 Metascore
    • 60 Todd McCarthy
    Lacks narrative push...atmospheric drama that casts a minor but distinctive spell.
    • 46 Metascore
    • 60 Todd McCarthy
    The opposition of the two dramas winds up in gratifyingly moral and philosophical territory.
    • 66 Metascore
    • 60 Todd McCarthy
    Often a gutsy, intelligent writer, Toback has yet to prove himself decisively as a director, and this, his first fictional effort behind the camera in a decade, shows his talents to be as variable as ever.
    • 69 Metascore
    • 60 Todd McCarthy
    The pain feels cushioned and secondhand, the characters are not terribly sympathetic or interesting other than for their misfortune, and the film shows little interest in analyzing the situation other than to point fingers at greedy CEOs.
    • 62 Metascore
    • 60 Todd McCarthy
    First-time scripter Paul Bernbaum's framing story, designed to stir up suspicion that George Reeves was a murder victim rather than a suicide, unfortunately proves far less intriguing than does the melancholy tale of a limited actor reaching the end of the line during a transitional period in Hollywood.
    • 54 Metascore
    • 60 Todd McCarthy
    The homily-laden wrap-up, stressing the upside of bad days, is enough to make you hold your nose, but it only lasts a moment, which is suggestive of the way Arteta and the cast provide the energy and momentum to get the job done but not overstay their welcome.
    • 69 Metascore
    • 60 Todd McCarthy
    There is unquestionably enough lively material here to snare one’s attention but, even at just 76 minutes, many will feel that this cruise has gone on plenty long enough.
    • 50 Metascore
    • 60 Todd McCarthy
    Picture is impressively crafted and acted but far too narrowly and benignly conceived to satisfy even on its own terms.
    • 48 Metascore
    • 60 Todd McCarthy
    This is one of those pictures that unavoidably becomes part of the zeitgeist due to its coincidental arrival at a precise moment in history when its themes play into current events.
    • tbd Metascore
    • 60 Todd McCarthy
    Compensating for the technical faults is the writer-director's unmistakable and undiluted need to express the issues he feels are at the heart of his community.
    • 49 Metascore
    • 60 Todd McCarthy
    Takes plenty of liberties with the material and never generates much genuine excitement, but provides an agreeable ride without overloading it with contemporary filmmaking mannerisms.
    • 63 Metascore
    • 60 Todd McCarthy
    A tasty if wildly far-fetched thriller, Out of Time proves far stronger in its characterizations than in developing genuine suspense.
    • 52 Metascore
    • 60 Todd McCarthy
    The picture is lacking in the uproarious humor that might well have ensued from the material, which instead inspires occasional laughs but, much more often, bemused fascination and wonderment at the bizarre imaginations and impressive skill of the filmmakers.
    • 67 Metascore
    • 60 Todd McCarthy
    Eventually, the impression is created of notes for good scenes full of pungent observations and sharp asides, but without fully developed drama or emotion, leaving a sketchy, wispy feeling when all is said and done.
    • 48 Metascore
    • 60 Todd McCarthy
    Less turgid and aggravating than its predecessor, this cleverly produced melodrama remains hamstrung by novelist's Dan Brown's laborious connect-the-dots plotting and the filmmakers' prosaic literal-mindedness in the face of ripe historical antagonisms, mystery and intrigue.
    • 50 Metascore
    • 60 Todd McCarthy
    A generic suspenser that doesn't taste bad at first bite but becomes increasingly hard to swallow, The Saint comes off more as a pallid imitation of Paramount's Eurothriller "Mission: Impossible" than as anything resembling the further adventures of Leslie Charteris' charming rogue.
    • 35 Metascore
    • 60 Todd McCarthy
    The sense of evil overkill is entirely representative of the picture itself, which repeatedly looks ready to blow all its fuses due to sensory overload.
    • 54 Metascore
    • 60 Todd McCarthy
    A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.
    • 60 Metascore
    • 60 Todd McCarthy
    9
    Design aspects are arresting and the filmmaker's abilities are obvious, but the basic survival story remains slight, just as the general setting, no matter how artfully imagined, is by now pretty familiar.
    • 58 Metascore
    • 60 Todd McCarthy
    A tad crasser and pushier than its predecessor, Ice Age: The Meltdown is still an entirely serviceable follow-up to the 2002 hit that will thoroughly amuse kids and get a rise or two out of parents as well.
    • 55 Metascore
    • 60 Todd McCarthy
    Promised Land presents its environmental concerns in a clear, upfront manner but hits some narrative and character bumps in the second half that weaken the impact of this fundamentally gentle, sympathetic work.
    • 62 Metascore
    • 60 Todd McCarthy
    A picture that, even more than the previous two, feels like a bunch of gags tossed together. The laughs are here, to be sure, although even some of the best of them are retreads and the Swinging '60s recycling act is now feeling a bit past its zeitgeist prime.
    • 65 Metascore
    • 60 Todd McCarthy
    Unswervingly sincere and dramatic without surprise or revelation, screenwriter Joe Eszterhas' longtime pet project may be personal, but it offers little to audiences that hasn't been served up in quantity in the past.
    • 47 Metascore
    • 60 Todd McCarthy
    One of the more absorbing and palatable entries in the rather disreputable "Death Wish"-style self-appointed vigilante sub-genre.
    • 47 Metascore
    • 60 Todd McCarthy
    A crudely funny farce that covers no new ground but sees its talented players running some surefire plays.
    • 49 Metascore
    • 60 Todd McCarthy
    A mostly standard-issue latter-day Arnold Schwarzenegger actioner spiked with a creepily plausible cloning angle.
    • 54 Metascore
    • 60 Todd McCarthy
    From a performance p.o.v., Aselton and Shepard hold the screen well and are most watchable, and Aselton does a fluid directing job within the limited challenge she set for herself production-wise.
    • 60 Metascore
    • 60 Todd McCarthy
    Brandishes physical verisimilitude and intelligent seriousness but proves unable to really get inside its chameleon-like central character.
    • 58 Metascore
    • 60 Todd McCarthy
    Even as a quasi-experimental work of subjective surrealism, Escape From Tomorrow is massively erratic and isn't particularly original. But it must also be said that its take on Disney World, as well as many of its individual images, are indelible and won’t be easily forgotten.
    • 74 Metascore
    • 60 Todd McCarthy
    Beautifully made pic will spur newsy media coverage and possible consternation on both sides of the Israeli-Palestinian divide, but members of the general public will be glancing at their watches rather than having epiphanies about world peace.
    • 46 Metascore
    • 60 Todd McCarthy
    Replete with smart, capable characters and crimes so bizarre that they lend the film a suspiciously lurid nature, this tony suspenser is hampered by the presence of a villain who is all too obvious from the very beginning.
    • 47 Metascore
    • 60 Todd McCarthy
    Refreshingly revisionist in the sense that it takes a relatively clear-eyed view of the messy lives and equivocal circumstances of many of the key participants.
    • 48 Metascore
    • 60 Todd McCarthy
    After quite a few tedious detours and distractions, when the film finally gets down to the business of a climax at a gathering of elite European diplomats in a precariously perched Swiss mountain castle, it becomes not half-bad.
    • 63 Metascore
    • 60 Todd McCarthy
    The picture's constant forward movement and breezy sense of amusement about itself provide a certain mild sort of diversion.
    • 41 Metascore
    • 60 Todd McCarthy
    Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.
    • 48 Metascore
    • 60 Todd McCarthy
    Remains exciting as long as it stays on the mountains.
    • 63 Metascore
    • 60 Todd McCarthy
    Most of the action is played for broad laughs, and Hogan demonstrates the ability to generate them, even if the humor is very base and often cruel, making fun of people's looks and ineptitude.
    • 56 Metascore
    • 60 Todd McCarthy
    Entirely respectable in every way, it nonetheless has a very cool body temperature and thus likely will inspire polite admiration rather than excitement among viewers.
    • 36 Metascore
    • 60 Todd McCarthy
    Callahan mostly overcomes its grungy technical quality with entertaining dialogue, nervy confrontation scenes, decent thesping and some truly spectacular shooting on the green velvet.
    • 43 Metascore
    • 60 Todd McCarthy
    An intensely whimsical shaggy-dog crime story that ricochets between goofy violence and some endearing personal moments.
    • 41 Metascore
    • 60 Todd McCarthy
    Outrageously grungy and whacked-out walk on the wild side.
    • 50 Metascore
    • 60 Todd McCarthy
    Engrossing but psychologically shallow tale.
    • 49 Metascore
    • 60 Todd McCarthy
    Absorbing in a low-key way but more dramatic where its secondary characters are concerned than its leads, and capped by climactic incidents that are less than entirely convincing.
    • 71 Metascore
    • 60 Todd McCarthy
    Director Spike Jonze's sharp instincts and vibrant visual style can't quite compensate for the lack of narrative eventfulness that increasingly bogs down this bright-minded picture.
    • 64 Metascore
    • 60 Todd McCarthy
    Che
    If the director has gone out of his way to avoid the usual Hollywood biopic conventions, he has also withheld any suggestion of why the charismatic doctor, fighter, diplomat, diarist and intellectual theorist became and remains such a legendary figure; if anything, Che seems diminished by the way he's portrayed here.
    • 70 Metascore
    • 60 Todd McCarthy
    Deliberately unvarnished shock piece designed to give pause to anyone with a daughter approaching teenhood.
    • 57 Metascore
    • 60 Todd McCarthy
    The characters and settings are attractively designed, and the vocal performances have real color and a sense of fun that gently undercuts the treacly sincerity of certain obligatory kid-pandering moments.
    • 62 Metascore
    • 60 Todd McCarthy
    The battle of the sexes is restaged to clever but inconsequential effect in Conversations With Other Women. Very much a case of old wine in a new bottle.
    • 64 Metascore
    • 60 Todd McCarthy
    Unquestionably the most sexually graphic American narrative feature ever made outside the realm of the porn industry, John Cameron Mitchell's ambitious attempt to merge his characters' active sexual lives with more conventional emotional content is playfully and provocatively entertaining for roughly the first half, but loses staying power thereafter when investment in the uncompelling characters' problems is requested.
    • 66 Metascore
    • 60 Todd McCarthy
    Coppola’s attitude toward her subject seems equivocal, uncertain; there is perhaps a smidgen of social commentary, but she seems far too at home in the world she depicts to offer a rewarding critique of it.
    • 66 Metascore
    • 60 Todd McCarthy
    Inspiring if not inspired, Lee Daniels' The Butler is a sort of Readers' Digest overview of the 20th century American civil rights movement centered on an ordinary individual with an extraordinary perspective.
    • 66 Metascore
    • 60 Todd McCarthy
    Duplass and Moss are put to the test to carry the film entirely on their shoulders and unquestionably carry it off... On the other hand, viewers will have widely disparate reactions to spending 90 uninterrupted minutes with these characters.
    • 64 Metascore
    • 60 Todd McCarthy
    Some fancy footwork in the writing and directing can't disguise the hoary "Ten Little Indians" origins of Identity.
    • 47 Metascore
    • 60 Todd McCarthy
    Atom Egoyan's most mainstream and genre-oriented picture in his 20-year career applies a thick noir lacquer to a jumbled, time-jumping tale of a young female journalist prying the facts out of the aging entertainers and their cronies.
    • 70 Metascore
    • 60 Todd McCarthy
    Butler is in no way a hot-headed or contentious piece of agit-prop, unlike so many other election year documentaries; like Kerry himself, the film speaks to the mind, not the emotions.
    • 63 Metascore
    • 60 Todd McCarthy
    Ambition markedly outstrips achievement in The Congress, a visionary piece of speculative fiction that drops the ball after a fine set-up.
    • 78 Metascore
    • 60 Todd McCarthy
    On its own terms, the plotting of "Devil" is absorbing, and the pieces actually fit together pretty decently. On the other hand, when scenes directly call to mind similar ones in "Chinatown," this effort's stepchild relationship to the classic is forcibly demonstrated.
    • 52 Metascore
    • 60 Todd McCarthy
    The antics here are strained, graceless and tiresomely crude, the sorts of things audiences feel they're supposed to laugh at rather than well-developed situations that generate genuine amusement.
    • 79 Metascore
    • 60 Todd McCarthy
    The pervasive chill, ugly feelings and downward spiral of the narrative make this a work that requires an equally sober, serious-minded attitude on the part of the viewer.
    • 48 Metascore
    • 60 Todd McCarthy
    After the accomplished smoothness of "Match Point," it's back to more ragged form in Scoop, despite the almost identical posh settings, and the return of Scarlett Johansson as leading lady.
    • 67 Metascore
    • 60 Todd McCarthy
    Watching a bunch of people take a drug trip is seldom either entertaining or edifying, but Chilean director Sebastian Silva manages to make it at least tolerably amusing.
    • 44 Metascore
    • 60 Todd McCarthy
    Reserved, careful and largely predictable in the way it plays out its wrenching emotional crises.
    • 63 Metascore
    • 60 Todd McCarthy
    Although it will most readily appeal to cinephiles…offers sufficient reality-based incident and ponderable cultural issues to attract curious audiences.
    • 51 Metascore
    • 60 Todd McCarthy
    The lead role of a working class former smuggler who dirties his hands again to save his family fits Mark Wahlberg like a glove.
    • 67 Metascore
    • 60 Todd McCarthy
    The performances are all sincere and solid and the situation is easy to respond to emotionally. But as a case history in the annals of political repression, it feels like a bit of a side show.
    • 51 Metascore
    • 60 Todd McCarthy
    Phantom is easily consumable eye candy, but it contains no nutrients for the heart or mind.
    • 78 Metascore
    • 60 Todd McCarthy
    More pictorially arresting than intellectually coherent.
    • 48 Metascore
    • 60 Todd McCarthy
    More palatable than most pictures of its ilk due to its keen awareness of its own preposterousness, a self-knowledge exuberantly expressed by a mostly live-wire cast.
    • 58 Metascore
    • 60 Todd McCarthy
    Part absurdist drama, part personal observational commentary and part hormonal explosion, all seen through the filter of previous war pics, Sam Mendes' third feature has numerous arresting moments but never achieves a confident, consistent or sufficiently audacious tone.
    • 67 Metascore
    • 60 Todd McCarthy
    Achieves a certain poignancy through its sensitivity to mortality in a context where illness and death are often thought of primarily in terms of gossip, blown deals and lost money.
    • 59 Metascore
    • 60 Todd McCarthy
    All smoke and mirrors. With his third straight excursion into the supernatural, M. Night Shyamalan has begun revealing the hand that works his spooky tricks so much that the lack of substance is plainly seen.
    • 56 Metascore
    • 60 Todd McCarthy
    Max
    The film is ultimately too glib in its suggestion that Hitler's discovering his career path was a matter of sheerest chance, even an accident.
    • 41 Metascore
    • 60 Todd McCarthy
    Genre fans always looking for something new and awesome may feel like they've seen most of this before, but the conceptual and emotional strength of Summit's Nicolas Cage starrer largely carries the day.
    • 53 Metascore
    • 60 Todd McCarthy
    Nair's approach never entirely convinces, and the adaptation of the 900-plus-page book becomes increasingly episodic, making this Vanity Fair more a collection of intermittent pleasures than a satisfying emotional repast.
    • 28 Metascore
    • 60 Todd McCarthy
    The Ugly Truth is an arch, contrived, entirely predictable romantic comedy assembled with sufficient audience-friendly elements to put it over as both a good girls' night attraction and a date-night lure raunchy enough to leave couples in the right mood afterward.
    • 48 Metascore
    • 60 Todd McCarthy
    A very mild animated entry from Disney with a distinctly recycled feel.
    • 77 Metascore
    • 60 Todd McCarthy
    Blue Ruin is a talented but sophomoric low-budgeter that straddles the divide between genre thriller and art piece with mixed results.
    • 69 Metascore
    • 60 Todd McCarthy
    A balanced, evenhanded film about a subject who has always managed to provoke intemperate reactions.
    • 61 Metascore
    • 60 Todd McCarthy
    No matter how silly and outlandish the action gets — and it does become ridiculous — it also delivers the goods its audience expects.
    • 56 Metascore
    • 60 Todd McCarthy
    A not-bad futuristic actioner with three or four astounding sequences, an unusual hero, a nifty villain and less mythic and romantic resonance than might be desired.
    • 66 Metascore
    • 60 Todd McCarthy
    Avengers: Age of Ultron succeeds in the top priority of creating a worthy opponent for its superheroes and giving the latter a few new things to do, but this time the action scenes don't always measure up and some of the characters are left in a kind of dramatic no-man's-land.
    • 49 Metascore
    • 60 Todd McCarthy
    As computer game-derived features go, it sure beats "Lara Croft: Tomb Raider."
    • 77 Metascore
    • 60 Todd McCarthy
    A pictorially unusual but dramatically listless tale.
    • 52 Metascore
    • 60 Todd McCarthy
    This entertaining confection possesses the substance of the TV show, the pacing of a Hong Kong actioner and the production values of a James Bond thriller.
    • 62 Metascore
    • 60 Todd McCarthy
    Egoyan's pedantic, lecturing approach makes the film a bit of a slog, although the basic material has an intrinsic interest that makes one at least want to know more about the historical events.
    • 57 Metascore
    • 60 Todd McCarthy
    It's hard to dislike a movie this light-hearted, but there's something terribly ephemeral about it as well; it's a film of complete weightlessness.
    • 73 Metascore
    • 60 Todd McCarthy
    Garcia’s take, however beautiful physically, is intellectually opaque and creatively cautious, leaving the interested viewer, whether or not a believer, with much to wonder about but little to actually chew on.
    • 66 Metascore
    • 60 Todd McCarthy
    Amusingly eccentric rather than outright funny.
    • 77 Metascore
    • 60 Todd McCarthy
    While pic remains sympathetic and appealing, the endless dialogue and repetitive settings become wearing through the couple's one long night together, and the artifice of the premise may contribute to the difficulty the film has in coming to romantic life.
    • 57 Metascore
    • 60 Todd McCarthy
    For Altman, this is a major statement about American hypocrisy and society’s haves and have-nots, in line with many of his films, but issued in a kind of offhand way that delivers only glancing emotional impact.
    • 81 Metascore
    • 60 Todd McCarthy
    The ultimate effect of [Östlund's] studied techniques is more restricting than beneficial, which, combined with a protracted running time, faintly self-righteous air and a perplexing, misguided coda, produces a sense of letdown at the end despite the strength of much that has come before.
    • 59 Metascore
    • 60 Todd McCarthy
    A frothy, lightweight romantic comedy that strives to seem richer and more complex than it really is.
    • 51 Metascore
    • 60 Todd McCarthy
    300
    A blustery, bombastic, visually arresting account of the Battle of Thermopylae as channeled through the rabid imagination of graphic novelist Frank Miller.
    • 72 Metascore
    • 60 Todd McCarthy
    After impressing well enough in his previous big screen directorial outings, Abrams works in a narrower, less imaginative mode here; there's little sense of style, no grace notes or flights of imagination. One feels the dedication of a young musician at a recital determined not to make any mistakes, but there's no hint of creative interpretation, personal feelings or the spreading of artistic wings.
    • 50 Metascore
    • 60 Todd McCarthy
    Red State is cleverly contrarian enough to get a rise out of almost any audience.
    • 69 Metascore
    • 60 Todd McCarthy
    This reflection on the past, love and death through the prism of layers of theatrical endeavor is both serious and frisky, engaging on a refined level but frustratingly limited in its complexity and depth.
    • 67 Metascore
    • 60 Todd McCarthy
    Cronenberg assumes a distinctly clinical approach to the emotional, social and business shenanigans on display here, a perspective that has brilliantly served some of his overtly psychological, horror and sci-fi pieces but gives this one a brittle and airless feel.
    • 56 Metascore
    • 60 Todd McCarthy
    Just two weeks after successfully targeting boys with "Holes," Disney is giving girls something they want with this mild, quasi-romantic romp.
    • 48 Metascore
    • 60 Todd McCarthy
    A blatant commodity designed to illustrate what a splendid influence the hit television show has been on the world at large, if the series' creators don't mind saying so themselves.
    • 67 Metascore
    • 60 Todd McCarthy
    Reasonably intelligent, well-crafted and dramatically understated.
    • 61 Metascore
    • 60 Todd McCarthy
    Misses its comic targets as often as it hits them but is endearing all the same for the good-natured cheer with which it skewers the eminently skewerable.
    • 53 Metascore
    • 60 Todd McCarthy
    An immediately involving yarn of an ace Marine sharpshooter set up to take the fall for an attempted presidential assassination, picture saddles itself with stereotypical villains, hokey contrivances and too-expedient crisis solutions.
    • 59 Metascore
    • 60 Todd McCarthy
    007 is undone by villainous scripting and misguided casting and acting in a couple of key secondary roles.
    • 47 Metascore
    • 60 Todd McCarthy
    Sheer energy and audience allure to burn, even if numerous speed bumps cause many of the comic possibilities to go tumbling overboard.
    • 71 Metascore
    • 60 Todd McCarthy
    Holes will no doubt speak clearly and appealingly to its intended early teen audience.
    • 56 Metascore
    • 60 Todd McCarthy
    It's a film of myriad minor pleasures but scant compelling qualities.
    • 41 Metascore
    • 60 Todd McCarthy
    Crucially, the teaming of standup favorite and "Martin" star Lawrence and "Fresh Prince" Smith clicks from the outset, with both right at home handling action and comedy on the bigscreen. Even when it's not particularly funny, their interplay is engaging, and their lively, raucous personalities keep the proceedings punchy and watchable for the slightly overlong running time.
    • 52 Metascore
    • 60 Todd McCarthy
    So determinedly old-fashioned it makes a strong claim to being the best film musical of 1959.
    • 52 Metascore
    • 60 Todd McCarthy
    Undeniably fascinating as a visit to a world you'd never have wanted to have come near in real life -- that of the Hussein family's inner sanctum -- the film falls crucially short by not providing a window into the mind of the man who was coerced into acting as his double.
    • 62 Metascore
    • 60 Todd McCarthy
    More intriguing on paper than when it actually unspools onscreen. Kevin Willmott's small-scaled but ambitious picture is well-researched, sometimes amusing and not unintelligent.
    • 45 Metascore
    • 60 Todd McCarthy
    This decorous look at the great man's five years as ambassador to France in the period leading up to the French Revolution touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction.
    • 63 Metascore
    • 60 Todd McCarthy
    A live-wire performance by Benicio Del Toro sparks an otherwise morose study of loss, addiction and catharsis.
    • 53 Metascore
    • 60 Todd McCarthy
    A potentially provocative idea is played out to diminishing returns.
    • 67 Metascore
    • 60 Todd McCarthy
    A sporadically funny romantic comedy with all the dramatic plausibility and tonal consistency of a TV variety show.
    • 57 Metascore
    • 60 Todd McCarthy
    Rodrigo Garcia's film only intermittently surmounts the limitations of the central character's parched emotional existence and restricted horizons, and the resolutions to some principal dramatic lines seem rather too easy.
    • 67 Metascore
    • 60 Todd McCarthy
    Feels too piecemeal and ultimately inconsequential.
    • 56 Metascore
    • 60 Todd McCarthy
    A psychotic seizure of a performance by Christian Bale dominates Harsh Times, the directorial debut of David Ayer that channels "Taxi Driver."
    • 58 Metascore
    • 60 Todd McCarthy
    Largely set in two of the least appetizing locations imaginable, a concentration camp and an insane asylum, this is a rigorously made film that does almost nothing to invite the viewer into its world.
    • 53 Metascore
    • 60 Todd McCarthy
    This perky, episodic film is as broad and obvious as it could be, but delivers on its own terms thanks to sparky chemistry between its sunny blond stars, Owen Wilson and Jennifer Aniston, and the unabashed emotion-milking of the final reel.
    • 67 Metascore
    • 60 Todd McCarthy
    Despite a sprinkling of laughs and eye-catching moments, this adaptation of a popular comicstrip reps a middling effort from the house that "Shrek" built, a rather narrowly conceived tale that makes only modest hay from the overworked conflict between wildlife and encroaching humans.
    • 48 Metascore
    • 60 Todd McCarthy
    A fine group of comic performers manages to keep the screen worth looking at despite the obsessively one-note nature of this curious matchup between MTV Films and producer Scott Rudin.
    • 55 Metascore
    • 60 Todd McCarthy
    The few who saw the embalmed adaptation of "Snow Falling on Cedars" will recognize the same stifling approach brought to this more accessible material by director Scott Hicks.
    • 56 Metascore
    • 60 Todd McCarthy
    A melodramatic step backward for writer-director Victor Nunez after his last two pictures, the first-rate "Ruby in Paradise" and "Ulee's Gold."
    • 43 Metascore
    • 60 Todd McCarthy
    A disappointingly pedestrian prison meller that falls between stools artistically and politically.
    • 29 Metascore
    • 60 Todd McCarthy
    Although decked out with a legitimate star and handsome production carpentry, pic takes no greater interest in creating three-dimensional characters or fleshing out a credible storyline than does the run-of-the-mill straight-to-video thriller.
    • 56 Metascore
    • 60 Todd McCarthy
    Still, there is an estimable integrity to the respect and fidelity with which the film regards its subjects, as well as an honesty in its attempt to illuminate the essences of these difficult people.
    • 47 Metascore
    • 60 Todd McCarthy
    An unabashedly old-fashioned entertainment loaded with traditional dancing and music.
    • 55 Metascore
    • 60 Todd McCarthy
    An exhaustingly elaborate romantic fantasy actioner.
    • 60 Metascore
    • 60 Todd McCarthy
    Amusing and engaging yet lacking in snap and cohesion, this insider's look at the world of standup comics in contempo Los Angeles rings true in its view of the variously warped, stunted and narrow lives of its mostly male denizens.
    • 55 Metascore
    • 60 Todd McCarthy
    Strikes some resonant chords but also hits notes that simply don't ring true and are borderline risible at times
    • 45 Metascore
    • 60 Todd McCarthy
    Despite an effectively low-key performance by Billy Bob Thornton in the leading role, pic is no more spiritually insightful or illuminating than Sunday School instructional story, and a lot less dramatically coherent.
    • 40 Metascore
    • 60 Todd McCarthy
    Made up of synthetics rather than whole cloth, this lurid concoction superficially gets by thanks to a strong cast and jazzy period detail, but its cartoonish contrivances fail to convince and lack any of the depth, feeling or atmosphere of genre stand-bearers like "L.A. Confidential."
    • 64 Metascore
    • 60 Todd McCarthy
    Borderline dull to sit through, The Sixth Sense is actually rather interesting to think about afterward because of the revelation of its ending.
    • 39 Metascore
    • 60 Todd McCarthy
    There are certainly good laughs to be had. But the contrived script and bland direction prevent the film from ever developing a comic life of its own, leaving what fun there is seeming like the foundation to a rumpus room that's never finished.
    • 46 Metascore
    • 50 Todd McCarthy
    Director Ron Howard and screenwriter Akiva Goldsman have conspired to drain any sense of fun out of the melodrama, leaving expectant audiences with an oppressively talky film that isn't exactly dull but comes as close to it as one could imagine with such provocative material.
    • 61 Metascore
    • 50 Todd McCarthy
    Danny Boyle has great and plainly evident fun adding twists and curves and tunnels and endless style to his modern London noir Trance, but he makes so many left turns that the film turns in on itself rather than going anywhere.

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