Todd McCarthy
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For 1,367 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 2.7 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Wrestler
Lowest review score: 0 Showgirls
Score distribution:
1,367 movie reviews
    • 45 Metascore
    • 70 Todd McCarthy
    Mostow's smart speculative suspenser imagines a time when people can live through ideal versions of themselves while they sit wired up at home.
    • 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.
    • 70 Metascore
    • 70 Todd McCarthy
    It's a small, peculiar film, one unlikely to appeal much to women, non-sports fans and mainstreamers, but its uncomfortable comic insights should win it a loyal following.
    • 73 Metascore
    • 70 Todd McCarthy
    There are moments, especially when Welles is alternating between acting as Brutus and directing everyone else, that it’s possible to forget you’re watching an actor and really believe you’re beholding Orson Welles at work.
    • 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.
    • 55 Metascore
    • 70 Todd McCarthy
    The mother of all secular humanists fights a losing battle against freshly minted religious zealots in Agora, a visually imposing, high-minded epic that ambitiously puts one of the pivotal moments in Western history onscreen for the first time.
    • 56 Metascore
    • 70 Todd McCarthy
    Although too devoted to matters literary, theatrical, operatic and sexually outre to make it with general audiences, this adaptation of Jonathan Ames' novel exudes the sort of smarts and sophisticated charm specialized audiences seek.
    • 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.
    • 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.
    • 65 Metascore
    • 70 Todd McCarthy
    A decidedly specialized affair that will appeal only to certain tastes, but there's plenty to appreciate if you let it seep in.
    • 64 Metascore
    • 70 Todd McCarthy
    Displaying a girth that will give hope to overweight romantics everywhere, Hoffman knows his character inside and out and invites the viewer close to this limited, good-hearted fellow.
    • 63 Metascore
    • 70 Todd McCarthy
    Intelligent and highly respectful of its central character and his titular landmark poem, HOWL is an admirable if fundamentally academic exploration of the origins, impact, meaning and legacy of Allen Ginsberg's signal work.
    • 69 Metascore
    • 70 Todd McCarthy
    The tense drama eventually becomes off-putting when it becomes clear almost every scene hinges on an unpleasant or ugly racial interaction.
    • 57 Metascore
    • 70 Todd McCarthy
    The prospects, advisability and potential methods of prolonging human life are examined in an engagingly multifaceted manner in How to Live Forever.
    • 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
    On its most successful level, the film represents a slashing dramatic essay on the dismaying human tendency not to accept full responsibility for one's actions.
    • 60 Metascore
    • 70 Todd McCarthy
    Removing a live audience from the equation, Soderbergh becomes a bold participant in the storytelling. The backdrop keeps changing, from a brick wall to drapes, windows and assorted landscapes. The lighting is in constant flux, often punctuating the text on cue.
    • 76 Metascore
    • 70 Todd McCarthy
    Mike Leigh has made one of his most modest pictures, although one that offers quite a few laughs and other quirky pleasures.
    • 71 Metascore
    • 70 Todd McCarthy
    A passably entertaining hodgepodge of old and new animation techniques, mixed sensibilities and hedged commercial calculations.
    • 63 Metascore
    • 70 Todd McCarthy
    Megamind is snappy good fun.
    • 55 Metascore
    • 70 Todd McCarthy
    The Eagle is an engaging, if straightforward and one-dimensional.
    • 33 Metascore
    • 70 Todd McCarthy
    The predicable, overlong romantic farce has enough sass and sex appeal to appease fans of stars Adam Sandler and Jennifer Aniston.
    • 75 Metascore
    • 70 Todd McCarthy
    For longtime Wiig fans, this uneven, overlong, emotionally involving and discreetly ambitious film will represent a welcome and overdue step up from her popular sketch work on "Saturday Night Live" to something sustained and searching, not to mention pretty funny.
    • 72 Metascore
    • 70 Todd McCarthy
    Like an old airplane (or spacecraft) jerry-rigged from scrap pieces and made air-worthy again, Super 8 has been patched together with 30-year-old spare parts to provide an enjoyable ride of its own.
    • 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.
    • 74 Metascore
    • 70 Todd McCarthy
    Little kids will enjoy it all, while parents, when not checking their cell phones, will be thankful for the thoughtfully brief running time.
    • 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.
    • 37 Metascore
    • 70 Todd McCarthy
    Duvall can play an avuncular cowboy sage in his sleep, but there's truly no one on Earth you'd rather see dishing out homespun aphorisms, so it's pointless to resist the pleasure of watching him do what he can do better than anyone else. Baker and Melissa Leo, as the waitress' mom, are not asked to exhibit a fraction of their talent, but they further class the joint up.
    • 70 Metascore
    • 70 Todd McCarthy
    The pressure cooker plot calls for intense performances all around but first among equals are Winslet and Ehle.
    • 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.
    • 64 Metascore
    • 70 Todd McCarthy
    This true story of a dolphin with a prosthetic tail has been precision engineered for full inspirational, heart-warming value.
    • 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.
    • 67 Metascore
    • 70 Todd McCarthy
    The script makes no attempt to assert its plausibility or realism; it is, instead, refreshingly frank about what it is, a simple, workable framework for the melees and mayhem.
    • 75 Metascore
    • 70 Todd McCarthy
    A breezy, keen-to-please attitudes prevails, and director James Bobin (The Flight of the Conchords, Da Ali G Show for TV) moves things along with good cheer.
    • 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.
    • 26 Metascore
    • 70 Todd McCarthy
    A compelling and disturbing drama about some elemental male issues.
    • 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.
    • 71 Metascore
    • 70 Todd McCarthy
    Dragon Tattoo is too neatly wrapped up, too fastidious to get under your skin and stay there.
    • 72 Metascore
    • 70 Todd McCarthy
    Whatever its missteps, this is a film that kids, middle-aged adults and grandparents can all see -- together or separately -- and get something out of in their own ways. There are precious few films that fit this description today and hats off to Spielberg for making one.
    • 56 Metascore
    • 70 Todd McCarthy
    Jolie deserves significant credit for creating such a powerfully oppressive atmosphere and staging the ghastly events so credibly, even if it is these very strengths that will make people not want to watch what's onscreen.
    • 72 Metascore
    • 70 Todd McCarthy
    Most disappointingly, the dancers never get their close-ups; whether by choice or by some enforced arrangement, Wiseman doesn't approach the gorgeous women to give them the chance to tell their side of what it's like to work at the Crazy Horse.
    • 69 Metascore
    • 70 Todd McCarthy
    A clever twist on superpowers and hand-held filmmaking that stumbles before the ending.
    • 51 Metascore
    • 70 Todd McCarthy
    Director Andrew Stanton's Disney extravaganza is a rather charming pastiche.
    • 67 Metascore
    • 70 Todd McCarthy
    As she did in her breakthrough film Winter's Bone, Jennifer Lawrence anchors this futuristic and politicized elaboration of The Most Dangerous Game with impressive gravity and presence, while director Gary Ross gets enough of what matters in the book up on the screen to satisfy its legions of fans worldwide.
    • 82 Metascore
    • 70 Todd McCarthy
    As intensely personal and deeply felt as it is, however, Davies' attempt to breathe new life into Rattigan's 1952 play is a rather bloodless, suffocating thing, lent tragic passion more by its use of Samuel Barber's Violin Concerto than by anything achieved by his star Rachel Weisz and her leading man.
    • 69 Metascore
    • 70 Todd McCarthy
    Visually stunning and strongly voiced, but doesn't take any real risks.
    • 49 Metascore
    • 70 Todd McCarthy
    As overcranked as it is -- the film is directed as if it were an action drama, with two or three times more cuts than necessary -- People Like Us has a persuasive emotional pull at its heart that's hard to deny.
    • 59 Metascore
    • 70 Todd McCarthy
    Savages represents at least a partial resurrection of the director's more hallucinatory, violent, sexual and, in a word, savage side.
    • 62 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.
    • 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.
    • 73 Metascore
    • 70 Todd McCarthy
    Absorbing if somewhat predictable in its dramatic trajectory, Jacques Audiard's follow-up to his powerhouse prison yarn "A Prophet" benefits from unvarnished, forthright performances from Marion Cotillard and Bullhead hunk Matthias Schoenaerts, as well as from the utterly convincing representation of the former's paraplegic state.
    • 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.
    • 66 Metascore
    • 70 Todd McCarthy
    Pitch Perfect is an enjoyably snarky campus romp that's both wildly nerdy and somewhat sexy.
    • 51 Metascore
    • 70 Todd McCarthy
    It's all sufficiently well done and amusing enough to satisfy the appetites of fans who mainline this sort of thing, but it also sports a concocted, second-hand feel common to this sort of throwback homage.
    • 59 Metascore
    • 70 Todd McCarthy
    Even with all its ups and downs, there are more than enough bawdy laughs and truthful emotional moments to put this over as a mainstream audience pleaser during a holiday season short on good comedies.
    • 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.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 70 Todd McCarthy
    There's little facetious comedy a la the "Pirates of the Caribbean" series. It's all traditional stuff, done well but without an original spark.
    • 74 Metascore
    • 70 Todd McCarthy
    For all its derivative poetics -- as many exteriors as possible were shot during or just after magic hour, a la Malick -- the film is a lovely thing to experience and possesses a measure of real power.
    • 51 Metascore
    • 70 Todd McCarthy
    The Call for the most part is a tense, extreme-jeopardy thriller that delivers the intended goods.
    • 41 Metascore
    • 70 Todd McCarthy
    So fetishistic about high-powered weapons that it qualifies as an NRA wet dream, G.I. Joe: Retaliation pretty accurately reflects the franchise's comic book and cartoon origins, which is both a good and a bad thing: good if you're a 12- to 15-year-old boy, bad if you're just about anyone else.
    • 54 Metascore
    • 70 Todd McCarthy
    Oblivion is an absolutely gorgeous film dramatically caught between its aspirations for poetic romanticism and the demands of heavy sci-fi action. After a captivating beginning brimming with mystery and evident ambition, the air gradually seeps out of the balloon that keeps this thinly populated tale aloft, leaving the ultimate impression of a nice try that falls somewhat short of the mark.
    • 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.
    • 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.
    • 87 Metascore
    • 70 Todd McCarthy
    Redford, who can’t avoid exuding charisma, plays this role with utter naturalism and lack of histrionics or self-regard.
    • 50 Metascore
    • 70 Todd McCarthy
    Franco, employing diverse cinematic techniques from split screen (mostly early on) to direct-to-camera address, makes the Bundrens’ time of trial more immediately coherent than it is on the page without disrespecting Faulkner’s oblique style.
    • 76 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.
    • 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.
    • 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.
    • 60 Metascore
    • 70 Todd McCarthy
    The script's simpleminded shenanigans notwithstanding, the two stars sync up better than their characters do, especially with some rough-and-tumble physical slapstick, resulting in a crude, low-brow audience-pleaser that will hit the funny bones of both performers' fan bases.
    • 60 Metascore
    • 70 Todd McCarthy
    Director Drake Doremus confirms his knack for pinpointing subtle emotional tremors on fragile personal landscapes, even if some too-easy coincidences and pat dramatic moments chip away at the compressed story's credibility.
    • 64 Metascore
    • 70 Todd McCarthy
    To kill time between action set-pieces, del Toro has done an above-average job of avoiding tedium via some flavorsome casting, passably interesting plot contrivances and, above all, by maintaining strong forward momentum. Unlike so many similar crash-bang action spectaculars, this one feels lean and muscular rather than bloated or padded; the combat is almost always coherent and dramatically pointed rather than just splashed on the screen for its own sake.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 66 Metascore
    • 70 Todd McCarthy
    After exhibiting an almost craven fidelity to his source material the first time out, Jackson gets the drama in gear here from the outset with a sense of storytelling that possesses palpable energy and purpose.
    • 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.
    • 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.
    • 73 Metascore
    • 70 Todd McCarthy
    The story is a jigsaw puzzle in which all the pieces are of an indistinguishable gray, making fitting them together a tricky matter.
    • 68 Metascore
    • 70 Todd McCarthy
    Land Ho! is appealing for not going the route of easy gags and dumbed-down humor.
    • 81 Metascore
    • 70 Todd McCarthy
    Some years from now, Starred Up, a rough, violent and, to American ears, half-indecipherable British prison drama, will be remembered as the film that announced a new star, Jack O’Connell.
    • 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.
    • 54 Metascore
    • 70 Todd McCarthy
    In his most effective full star turn in perhaps a decade, Kevin Costner dominates as the greenhorn general manager of the beleaguered Cleveland Browns.
    • 62 Metascore
    • 70 Todd McCarthy
    Superbly made but burdened by some dull human characters enacted by an interesting international cast who can't do much with them, this new Godzilla is smart, self-aware, eye-popping and arguably in need of a double shot of cheeky wit.
    • 64 Metascore
    • 70 Todd McCarthy
    Always commanding attention at the film’s center is Pearce, who, under a taciturn demeanor, gives Eric all the cold-hearted remorselessness of a classic Western or film noir anti-hero who refuses to die before exacting vengeance for an unpardonable crime.
    • 60 Metascore
    • 70 Todd McCarthy
    As in any classic Western, there are blunt pleasures to be had every time the tables are turned on men in black hats, as well as from direct, threat-loaded dialogue, meaningful looks, geometric arrangements of heroes and villains, and tense hunts for prey that play out both in rugged mountain settings and the tight quarters of buildings.
    • 78 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.
    • 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.
    • 71 Metascore
    • 70 Todd McCarthy
    An urgent work, the burning anger of which will viscerally connect with many viewers, who will recognize themselves or people they know up on the screen.
    • 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.
    • 44 Metascore
    • 70 Todd McCarthy
    You laugh in spite of yourself in This Is Where I Leave You, a potty-mouthed comedy with enough exasperation, aggravations, long-standing grievances and get-me-outta-here moments of family stress to strike a chord with anyone who’s ever had to endure large clan gatherings that might have lasted a bit too long.
    • 60 Metascore
    • 70 Todd McCarthy
    Renner appears completely immersed in his role and when the clouds of doubt accumulate and the man becomes a professional pariah, it's a painful thing to see.
    • 76 Metascore
    • 70 Todd McCarthy
    Technically and in his work with actors, Philip represents a great leap forward for Perry; a subsequent jump might involve presenting a central character with whom viewers could legitimately engage.
    • 85 Metascore
    • 70 Todd McCarthy
    Only fitfully does the film manage the kind of lift-off as that achieved by Pynchon's often riotous 2009 novel and, most disappointingly, it offers only a pale and narrow physical recreation of such a vibrant place and time.
    • 64 Metascore
    • 70 Todd McCarthy
    Fury is a good, solid World War II movie, nothing more and nothing less.
    • 59 Metascore
    • 60 Todd McCarthy
    007 is undone by villainous scripting and misguided casting and acting in a couple of key secondary roles.
    • 48 Metascore
    • 60 Todd McCarthy
    Remains exciting as long as it stays on the mountains.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 60 Todd McCarthy
    An oddly schizophrenic fantasy thriller that ultimately succumbs to a fatal case of sentimentality.
    • 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.
    • 46 Metascore
    • 60 Todd McCarthy
    The opposition of the two dramas winds up in gratifyingly moral and philosophical territory.
    • 33 Metascore
    • 60 Todd McCarthy
    It's good to see Schwarzenegger doing his thing again after what, for him, was a long sabbatical.
    • 47 Metascore
    • 60 Todd McCarthy
    A crudely funny farce that covers no new ground but sees its talented players running some surefire plays.
    • 67 Metascore
    • 60 Todd McCarthy
    Reasonably intelligent, well-crafted and dramatically understated.
    • 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.
    • 43 Metascore
    • 60 Todd McCarthy
    A disappointingly pedestrian prison meller that falls between stools artistically and politically.
    • 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.
    • 64 Metascore
    • 60 Todd McCarthy
    Some fancy footwork in the writing and directing can't disguise the hoary "Ten Little Indians" origins of Identity.
    • 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.
    • 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.
    • 70 Metascore
    • 60 Todd McCarthy
    Deliberately unvarnished shock piece designed to give pause to anyone with a daughter approaching teenhood.
    • 49 Metascore
    • 60 Todd McCarthy
    A mostly standard-issue latter-day Arnold Schwarzenegger actioner spiked with a creepily plausible cloning angle.
    • 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.
    • 67 Metascore
    • 60 Todd McCarthy
    A sporadically funny romantic comedy with all the dramatic plausibility and tonal consistency of a TV variety show.
    • 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.
    • 53 Metascore
    • 60 Todd McCarthy
    A potentially provocative idea is played out to diminishing returns.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 32 Metascore
    • 60 Todd McCarthy
    A desperately slight romantic comedy marked by contrived romance and little comedy.
    • 49 Metascore
    • 60 Todd McCarthy
    As computer game-derived features go, it sure beats "Lara Croft: Tomb Raider."
    • 59 Metascore
    • 60 Todd McCarthy
    A frothy, lightweight romantic comedy that strives to seem richer and more complex than it really is.
    • 71 Metascore
    • 60 Todd McCarthy
    Lacks narrative push...atmospheric drama that casts a minor but distinctive spell.
    • 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.
    • 51 Metascore
    • 60 Todd McCarthy
    Phantom is easily consumable eye candy, but it contains no nutrients for the heart or mind.
    • 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.
    • 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.
    • 41 Metascore
    • 60 Todd McCarthy
    Outrageously grungy and whacked-out walk on the wild side.
    • 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.
    • 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.
    • 43 Metascore
    • 60 Todd McCarthy
    An intensely whimsical shaggy-dog crime story that ricochets between goofy violence and some endearing personal moments.
    • 71 Metascore
    • 60 Todd McCarthy
    Holes will no doubt speak clearly and appealingly to its intended early teen audience.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Todd McCarthy
    Engrossing but psychologically shallow tale.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 60 Todd McCarthy
    A very mild animated entry from Disney with a distinctly recycled feel.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 60 Todd McCarthy
    A heaping serving of metaphysical gobbledygook wrapped in a physically striking package.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 60 Todd McCarthy
    A balanced, evenhanded film about a subject who has always managed to provoke intemperate reactions.
    • 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.
    • 67 Metascore
    • 60 Todd McCarthy
    Feels too piecemeal and ultimately inconsequential.
    • 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.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 60 Todd McCarthy
    An unabashedly old-fashioned entertainment loaded with traditional dancing and music.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 60 Todd McCarthy
    It's a film of myriad minor pleasures but scant compelling qualities.
    • 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.
    • 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.
    • 55 Metascore
    • 60 Todd McCarthy
    An exhaustingly elaborate romantic fantasy actioner.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 60 Todd McCarthy
    So determinedly old-fashioned it makes a strong claim to being the best film musical of 1959.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 60 Todd McCarthy
    A live-wire performance by Benicio Del Toro sparks an otherwise morose study of loss, addiction and catharsis.
    • 44 Metascore
    • 60 Todd McCarthy
    Reserved, careful and largely predictable in the way it plays out its wrenching emotional crises.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 36 Metascore
    • 60 Todd McCarthy
    Serves up enough goofy pranks and fractured wordplay to keep the series purring along.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 60 Todd McCarthy
    Amusingly eccentric rather than outright funny.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Todd McCarthy
    Red State is cleverly contrarian enough to get a rise out of almost any audience.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 60 Todd McCarthy
    Brad Pitt delivers a capable performance in an immersive apocalyptic spectacle about a global zombie uprising.
    • 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.
    • 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.
    • 77 Metascore
    • 60 Todd McCarthy
    A pictorially unusual but dramatically listless tale.
    • 78 Metascore
    • 60 Todd McCarthy
    More pictorially arresting than intellectually coherent.
    • 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.
    • 65 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.
    • 71 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.
    • 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.
    • 68 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.
    • 84 Metascore
    • 60 Todd McCarthy
    [A] mostly engaging but only fitfully inspired serio-comedy.
    • 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.
    • 54 Metascore
    • 50 Todd McCarthy
    Intermittently engaging but dramatically slack, this tale...is more interesting around the edges than it is at its core, thanks to the dull nature of the lead character played by Matt Damon.
    • 61 Metascore
    • 50 Todd McCarthy
    The gradual dilution of fresh humor is further undercut by a queasy sense that the picture, in the end, is quietly endorsing all the psychoanalytical mumbo jumbo that it has been poking fun at all along.
    • 58 Metascore
    • 50 Todd McCarthy
    As eye and ear candy, pic has its modest pleasures, beginning with the attractive Diggs and Lathan.
    • 76 Metascore
    • 50 Todd McCarthy
    Whit Stillman's stiff directorial approach ill suits the sensual ambiance of the club scene so intently depicted, and the mostly self-conscious, uptight characters seem to have made a left turn out of "Metropolitan" and walked through the wrong door to turn up in this flamboyant druggie scene.
    • 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.
    • 38 Metascore
    • 50 Todd McCarthy
    As impressive as the industrial-style special effects may be, they're both too much and not enough for this mild mild West.
    • 35 Metascore
    • 50 Todd McCarthy
    A pale reworking of its predecessor.
    • 59 Metascore
    • 50 Todd McCarthy
    Like a light buffet of tasty morsels rather than a full and satisfying meal; all the episodes are more or less agreeable, but as a whole it lacks a knockout punch, one dynamite sequence that will galvanize viewers.
    • 47 Metascore
    • 50 Todd McCarthy
    A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.
    • 52 Metascore
    • 50 Todd McCarthy
    Simultaneously contrived and genuinely felt.
    • 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.
    • 42 Metascore
    • 50 Todd McCarthy
    Columbus' approach is intended to cloak such topics as mortality and human identity in the warm glow of greeting card sentiment, which renders the prescription palatable for mass consumption but hopelessly diluted.
    • 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.
    • 58 Metascore
    • 50 Todd McCarthy
    Entombs its characters so thoroughly in a prison of palpably predestined tragedy that one knows from the outset that the very worst that can happen most certainly will.
    • 45 Metascore
    • 50 Todd McCarthy
    A broad and obvious approach to ambiguous material that's virtually all plot mechanics with little nuance or characterization.
    • 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
    A half-broken adaptation of Cormac McCarthy's great modern Western novel. Neither dull nor exciting.
    • 32 Metascore
    • 50 Todd McCarthy
    A half-absorbing, half-ridiculous techno-thriller that often goes too far in search of audience-rousing effects.
    • 71 Metascore
    • 50 Todd McCarthy
    Director David Gordon Green has created some fresh, penetrating, beautifully drawn scenes of one-on-one intimacy…But some of what surrounds these interludes is variously misguided, fuzzy and borderline pretentious.
    • 58 Metascore
    • 50 Todd McCarthy
    Staccato, Mamet-style dialogue exchanges, breathless pacing and remarkably healthy, well-fed-looking actors create a cumulative sense of artificiality that seriously undercuts the devastating effect clearly being sought.
    • 74 Metascore
    • 50 Todd McCarthy
    Goes down like stiff medicine, leaving one feeling exhausted relief when it's finally over.
    • 61 Metascore
    • 50 Todd McCarthy
    Anthony and Joe Russo place too much faith in the ability of their talented thesps to carry the day over precariously thin material.
    • 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.
    • 47 Metascore
    • 50 Todd McCarthy
    The major jolt is saved for the very end but, like much else in the film, it is overexplained and underlined when more simplicity and quiet would have provided the revelation with the power of a depth charge.
    • 85 Metascore
    • 50 Todd McCarthy
    Surprisingly lacks a feeling of personal urgency and insight that would have made it a distinctive, even unique contribution to the considerable number of films that deal with the war in general and Holocaust in particular.
    • 48 Metascore
    • 50 Todd McCarthy
    Earnest and well-intentioned.
    • 44 Metascore
    • 50 Todd McCarthy
    Valerie Breiman’s exceedingly slick feature is one of those cutesy items in which the characters talk about nothing but relationships and themselves.