Todd McCarthy
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For 1,422 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 2.4 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Youth
Lowest review score: 0 Showgirls
Score distribution:
1,422 movie reviews
    • 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.
    • 64 Metascore
    • 50 Todd McCarthy
    Despite its indie-flavored shooting style, first-rate visual effects, reasonable intensity factor, nihilistic attitude and post-9/11 anxiety overlay, this punchy sci-fier is, in the end, not much different from all the marauding creature features that have come before it.
    • 64 Metascore
    • 50 Todd McCarthy
    Harris' first directorial outing since his impressive and entirely different "Pollock" biopic bears echoes of many genre predecessors, especially Howard Hawks' "Rio Bravo" -- but echoes they remain.
    • 51 Metascore
    • 50 Todd McCarthy
    Impressively rendered but oddly uninviting adventure.
    • 57 Metascore
    • 50 Todd McCarthy
    A protracted parade of woefully familiar motifs from the Amerindie playbook, Happy Endings comes off like an undernourished Paul Thomas Anderson wannabe.
    • 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
    Desperately uncertain in tone and able to generate only sporadic laughs, pic decks out its meager story of revenge and comeuppance with a vulgar, flashy shimmer that will no doubt attract teenage girls, or the core "Clueless" audience.
    • 49 Metascore
    • 50 Todd McCarthy
    Like many action stars, Statham is good at cool brooding, but West's frantic style works against this.
    • 40 Metascore
    • 50 Todd McCarthy
    The season's first comet-targets-Earth special effects extravaganza is spectacular enough in its cataclysmic scenes of the planet being devastated by an unstoppable fireball, but proves far from thrilling in the down time spent with a largely dull assortment of troubled human beings.
    • 56 Metascore
    • 50 Todd McCarthy
    This first dramatic feature by "Hoop Dreams" director Steve James has one foot still squarely planted in the docu aesthetic and notably lacks any psychological interest or emotional depth.
    • 73 Metascore
    • 50 Todd McCarthy
    A nice looking but heavily formulaic DreamWorks animation entry.
    • 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.
    • 63 Metascore
    • 50 Todd McCarthy
    Nothing about the project's execution inspires the feeling that this was ever intended as anything more than a lark, which would be fine if it were a good one. As it is, audience teeth-grinding sets in early and never lets up.
    • 46 Metascore
    • 50 Todd McCarthy
    Beautifully crafted and highlighted by an arresting change-of-pace perf by Meg Ryan as an English teacher erotically awakened by a homicide detective. But the story's unpalatable narrative holes and dramatic missteps will hold sway over the pic's better qualities.
    • 46 Metascore
    • 50 Todd McCarthy
    A low-impact romantic comedy-drama from James L. Brooks in which the central characters are strangely disconnected from one another as well as from the audience.
    • 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
    The Bronze is a strident comedy made in accordance with the sole guiding principle of, when in doubt, go even more vulgar.
    • 75 Metascore
    • 50 Todd McCarthy
    In trying to merge this alarmist theme with an old-fashioned murder mystery, the filmmakers throw at least one plot-twist sucker-punch too many, leaving the viewer with an “Oh, come on” reaction to the entire film.
    • 52 Metascore
    • 50 Todd McCarthy
    Simultaneously contrived and genuinely felt.
    • 43 Metascore
    • 50 Todd McCarthy
    Has absolutely nothing to say about its characters and their lamentable actions.
    • 59 Metascore
    • 50 Todd McCarthy
    The demoralizing slide of the relationship between Francois Truffaut and Jean-Luc Godard, from artistic comrades-in-arms during the thrilling creation of the nouvelle vague to name-calling enemies from the early '70s onward, is charted in overly academic and constricted fashion in Two in the Wave.
    • 37 Metascore
    • 50 Todd McCarthy
    This quite mediocre spawned-from-television feature feels like a Jesus film designed primarily for true believers, meaning that the faith-based public that has already been put on alert by seal-of-approval-dispensing church leaders that this is a film to see will make the Fox release into a significant Heartland attraction.
    • 66 Metascore
    • 50 Todd McCarthy
    What they have done is taken a few second-hand ideas from noir and speculative fiction and mixed them in occasionally striking ways, even if, in the end, the result isn't all that much fun.
    • 52 Metascore
    • 50 Todd McCarthy
    Something less than monumental, The Monuments Men wears its noble purpose on its sleeve when either greater grit or more irreverence could have put the same tale across to modern audiences with more punch and no loss of import.
    • 47 Metascore
    • 50 Todd McCarthy
    An attempt to merge a semi-jokey buddy movie with a more realistic account of cops' messy private lives, Hollywood Homicide falls short on both counts.
    • 52 Metascore
    • 50 Todd McCarthy
    As much a trifle as its title suggests, My Blueberry Nights sees Hong Kong stylist Wong Kar Wai applying his characteristic visual and thematic doodles to a wispy story of lovelorn Yanks.
    • 49 Metascore
    • 50 Todd McCarthy
    It all ends up being a half-hour too much of a just okay thing.
    • 53 Metascore
    • 50 Todd McCarthy
    For all its clever design, beguiling creatures and witty actors, the picture feels far more conventional than it should; it's a Disney film illustrated by Burton, rather than a Burton film that happens to be released by Disney.

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