Todd McCarthy

Select another critic »
For 1,500 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 1.7 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Traffic
Lowest review score: 0 Being Human
Score distribution:
1500 movie reviews
    • 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.
    • 44 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.
    • 49 Metascore
    • 50 Todd McCarthy
    If the story is meant to represent a microcosm of the immigration problem, it’s woefully reductive. If it’s meant to be first and foremost an action thriller, it does have a few nice moves to offer.
    • 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.
    • 70 Metascore
    • 50 Todd McCarthy
    That the film mostly falls flat has far more to do with the largely unconvincing material rather than with the co-stars, who are more than game for often clownish shenanigans Black and his co-writer Anthony Bagarozzi have concocted for them; in fit and starts, the actors display a buoyant comic rapport.
    • 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.
    • 37 Metascore
    • 50 Todd McCarthy
    In a role that Tom Hanks might have played a decade or so ago, Perry is pretty bland and doesn't provide any hints as to why Alex is so emotionally stymied.
    • 47 Metascore
    • 50 Todd McCarthy
    Pfeiffer tackles the part with obvious dedication, but she's thwarted from the get-go by the heavily proscribed nature of the role as written.
    • 55 Metascore
    • 50 Todd McCarthy
    Shortchanging traditional animation by literalizing it while robbing actors of their full range of facial expressiveness, the performance-capture technique favored by director Robert Zemeckis looks more than ever like the emperor's new clothes in Disney's A Christmas Carol.
    • 56 Metascore
    • 50 Todd McCarthy
    The souffle falls a little flat in The Ladykillers, a Coen brothers black comedy in which the humor seems arch and narrative momentum doesn't kick in until the final third.
    • 37 Metascore
    • 50 Todd McCarthy
    A woefully predictable imperiled-yuppie-family-under-siege suspenser that hardly seems worth the attention of its relatively high-profile participants.
    • 55 Metascore
    • 50 Todd McCarthy
    Feels slight and pretty ordinary by the end, with no edge or compelling insights, just a reasonable feel for teen attitudes and banter.
    • 44 Metascore
    • 50 Todd McCarthy
    A partly smart, mostly dumb addition to the teen horror sweepstakes -- smart in how it neatly catches the petty, hurtful, sexy and druggy aspects of high school life, dumb in how it makes absolutely no sense once its resolution is known.
    • 44 Metascore
    • 50 Todd McCarthy
    Half-intriguing, half-tedious.
    • 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.
    • 59 Metascore
    • 50 Todd McCarthy
    Well-wrought individual scenes and sharply focused acting provide Rebecca Miller's third feature with a measure of gravity, but too much abrupt, even melodramatic behavior and undigested psychological matter leave nagging dissatisfactions.
    • 47 Metascore
    • 50 Todd McCarthy
    A sort of maritime Donner Party, In the Heart of the Sea is a rugged but underwhelming true-life drama of a cursed 19th century whaling voyage.
    • 45 Metascore
    • 50 Todd McCarthy
    Feels like a film that should have been made at least 25 years ago. Or made as a period piece. Heavy, doom-laden and, unfortunately, entirely predictable.
    • 65 Metascore
    • 50 Todd McCarthy
    The Client is a satisfactory, by-the-numbers child-in-jeopardy thriller that will fill the bill as a very commercial hot weather popcorn picture.
    • 68 Metascore
    • 50 Todd McCarthy
    Nowhere to be found is any dramatic surprise, heightening of the pulse or genuine pulling of heartstrings. Gary Winick's direction consists of button pushing, and the mechanics are palpable at every step.

Top Trailers