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 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Being Human
Score distribution:
1,367 movie reviews
    • 32 Metascore
    • 30 Todd McCarthy
    The director doesn't display the spirit of a natural entertainer; while intellectual notions abound, he never grabs the audience by the hand to pull them into the tale emotionally.
    • 47 Metascore
    • 30 Todd McCarthy
    Delivers only annoyance and impatience.
    • 29 Metascore
    • 30 Todd McCarthy
    Goes down like sour eggnog on Christmas Eve.
    • 54 Metascore
    • 30 Todd McCarthy
    Traditionalists and older viewers in general will scoff, while pop culture addicts will no doubt go with the flow.
    • 31 Metascore
    • 30 Todd McCarthy
    Shrill, undermotivated, feature-length catfight.
    • 47 Metascore
    • 30 Todd McCarthy
    Cronenberg is a master of creating and sustaining a mood of insinuating cool and dark allure, but while the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch.
    • 33 Metascore
    • 30 Todd McCarthy
    Well made but unlikable and dramatically absurd picture.
    • 39 Metascore
    • 30 Todd McCarthy
    Wallow in Hollywood hipster self-absorption.
    • 35 Metascore
    • 30 Todd McCarthy
    This is one of those high-concept pictures with a big windup and weak delivery.
    • 58 Metascore
    • 30 Todd McCarthy
    The story of a veritable devil who comes to test and destroy a family of faith, The King is a noxious film morally and an aggravating one dramatically.
    • 30 Metascore
    • 30 Todd McCarthy
    A flighty and unnecessary send-up of reality television.
    • 34 Metascore
    • 30 Todd McCarthy
    Once the revisionist frisson of a black Jesus, not to mention Mary, Joseph and Judas, has worn off, one is stuck with more mundane matters such as story dynamics, visual style and character verisimilitude, much to the misfortune of the audience.
    • 31 Metascore
    • 30 Todd McCarthy
    Blandness and lack of daring characterize nearly every minute of the very long two hours, which are marked by a high degree of professionalism at the service of little content.
    • 43 Metascore
    • 30 Todd McCarthy
    This butterfly just doesn't fly. Icy, surprisingly conventional and never truly convincing.
    • 44 Metascore
    • 30 Todd McCarthy
    Rarely has a picture been so self-consciously designed to be a culturally meaningful touchstone, and fallen so woefully short, as Southland Tales.
    • 49 Metascore
    • 30 Todd McCarthy
    The effects are snazzy, even if they pass by quite quickly, and there's enough going on to keep audiences watching, if not entirely happy. Smith, Theron and Bateman capably handle the main roles, but such is the skimpiness of the scenario that no further characters make any impact.
    • 51 Metascore
    • 30 Todd McCarthy
    A stillborn would-be comedy.
    • 35 Metascore
    • 30 Todd McCarthy
    Cleverly titled but noxious British comedy.
    • 31 Metascore
    • 30 Todd McCarthy
    An indigestible gumbo of Southern Gothic ingredients seasoned with snake oil, biblical hash and thoroughly unpalatable spice.
    • 20 Metascore
    • 30 Todd McCarthy
    Conservatives score a few political points but aren't very funny in An American Carol, a cheesy spitball directed at the very large target of a Michael Moore-like filmmaker.
    • 38 Metascore
    • 30 Todd McCarthy
    The way the picture dwells almost exclusively on cinematically exploitable elements -- gangbanger crime, prostitution, honor killing, terrorism paranoia -- gives it a sordid patina that even the classy, able thesps can't offset.
    • 24 Metascore
    • 30 Todd McCarthy
    A shrill, mechanical comedy.
    • 19 Metascore
    • 30 Todd McCarthy
    On a moment to moment basis, however, picture continuously skirts very close to the ludicrous in its advanced-stage grimness and outre forms of torture foreplay.
    • 44 Metascore
    • 30 Todd McCarthy
    An aggravating romance that runs only 78 minutes but ends not a moment too soon.
    • 49 Metascore
    • 30 Todd McCarthy
    Lars von Trier cuts a big fat art-film fart with Antichrist. As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images.
    • 29 Metascore
    • 30 Todd McCarthy
    As it thuds along from one wolf attack to the next, Catherine Hardwicke's first film since taking leave of Bella and her toothy friends adamantly refuses to provide any wit, humor or fun.
    • 33 Metascore
    • 30 Todd McCarthy
    This low-rent, R-rated "Rush Hour"-ish comic caper could have been several notches better with more charismatic leads and some dialogue upgrades but still would have felt like a genre hand-me-down.
    • 37 Metascore
    • 30 Todd McCarthy
    Arriving eight years after the lame third installment in Dimension's profitable series, this seems like far too little way too late.
    • 47 Metascore
    • 30 Todd McCarthy
    The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
    • 46 Metascore
    • 30 Todd McCarthy
    It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.