Todd McCarthy

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For 1,470 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 2.2 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Truman Show
Lowest review score: 0 Showgirls
Score distribution:
1470 movie reviews
    • 65 Metascore
    • 50 Todd McCarthy
    More than even the most faithful of the earlier episodes, this film feels devoted above all to reproducing the novel onscreen as closely as possible, an impulse that drags it toward ponderousness at times and rather sorely tests the abilities of the young actors to hold the screen entirely on their own, without being propped up by the ever-fabulous array of character actors the series offers.
    • 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.
    • 60 Metascore
    • 50 Todd McCarthy
    Although arresting in spots, it falls far short of bringing out the full values of the play, and doesn't approach the emotional resonance of Franco Zeffirelli's immensely popular 1968 screen version.
    • 46 Metascore
    • 50 Todd McCarthy
    For those always on the lookout for the "funny" Allen, this one definitely has its moments, but too much of the picture is flat, dispiriting and frankly unbelievable in fundamental ways that defy the granting of poetic license.
    • 40 Metascore
    • 50 Todd McCarthy
    Routine, superficial manhunt stuff.
    • 50 Metascore
    • 50 Todd McCarthy
    A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.
    • 65 Metascore
    • 50 Todd McCarthy
    When Coppola finds creative nirvana, he frequently has trouble delivering the full goods. Tetro represents something of a middle ground in that respect.
    • 37 Metascore
    • 50 Todd McCarthy
    A moderately amusing but very uneven revisionist adventure with franchise and theme park intentions written all over it...This attempt by Verbinski and producer Jerry Bruckheimer to plant the flag for another Pirates of the Caribbean-scaled series tries to have it too many ways tonally, resulting in a work that wobbles and thrashes all over the place as it attempts to find the right groove.
    • 57 Metascore
    • 50 Todd McCarthy
    Comes across in muted fashion, with uninvolving characters and lack of genuine excitement or fright creating a second-rate, second-hand feel.
    • 42 Metascore
    • 50 Todd McCarthy
    Pfister, who, like his mentor Nolan, adamantly continues to shoot on film (not digital), shows a sure hand at staging scenes, creating visuals and setting a tone -- if only all the diverse elements here fit comfortably under the same tent.
    • 69 Metascore
    • 50 Todd McCarthy
    Malick's exalted visuals and isolated metaphysical epiphanies are ill-supported by a muddled, lurching narrative, resulting in a sprawling, unfocused account of an epochal historical moment.
    • 50 Metascore
    • 50 Todd McCarthy
    Individual scenes in actor Justin Theroux's directorial debut possess a certain flair, but the central issue on which the story turns -- how obnoxious and mean-spirited can you be and still get someone to love you? -- presents a forbidding obstacle.
    • 57 Metascore
    • 50 Todd McCarthy
    Mismatched marriage of offbeat character study and unimaginative horror riffs. Most compelling element by far is Bruce Campbell's inspired performance as a nursing home patient who insists he is the real Elvis Presley.
    • 56 Metascore
    • 50 Todd McCarthy
    Sports some tasty scenes, mostly in the first half, but also pushes 007 into CGI-driven, quasi-sci-fi territory that feels like a betrayal of what the franchise has always been about.
    • 58 Metascore
    • 50 Todd McCarthy
    The sensitive macho Schoenaerts is pretty much center-screen throughout this sleekly made suspense piece based on a script more loaded with holes than the numerous bad guys he either shoots or stabs to death.
    • 35 Metascore
    • 50 Todd McCarthy
    A pale reworking of its predecessor.
    • 61 Metascore
    • 50 Todd McCarthy
    Like his previous efforts, Jarmusch's sidelong take on Western conventions relies upon quirky tone, hipsterish performances and a highly refined visual style to put it over.
    • 42 Metascore
    • 50 Todd McCarthy
    This franchise-hungry champion of the underdog brings no sense of fun to his pursuit of bad guys; it's just the fate he's stuck with.
    • 46 Metascore
    • 50 Todd McCarthy
    As an exercise in style, it's diverting enough, but these mean streets are so well traveled that it takes someone like Eva Green to make the detour through them worth the trip.
    • 46 Metascore
    • 50 Todd McCarthy
    The Basketball Diaries is a weak-tea rendition of Jim Carroll's much-admired cult tome about his teenage drug addiction. Leonardo DiCaprio's committed lead performance deserves a better context than this gloss on the source material.
    • 56 Metascore
    • 50 Todd McCarthy
    The Rum Diary remains a relatively mild diversion, not at all unpleasant but neither compelling nor convulsive.
    • 81 Metascore
    • 50 Todd McCarthy
    On their own, individual scenes are effective enough in semi-farcically portraying the ignorance, avoidance and/or downright denial by the practitioners of bad loans. Together, however, they are wearying in their repetitive nature.
    • 41 Metascore
    • 50 Todd McCarthy
    A junior-league "Superbad" with an aftertaste of "The Pacifier," Drillbit Taylor is a just passable pubescent comedy with a modest laugh count by Apatow factory standards.
    • 63 Metascore
    • 50 Todd McCarthy
    Penn's magnetism and hesitant line delivery create what interest there is, although the whole picture suffers from a central figure who can never get it together on any level.
    • 32 Metascore
    • 50 Todd McCarthy
    Once you realize the film is just going to be a string of encomiums against a backdrop of frantically edited archival material in which few shots are allowed to stay onscreen longer than three seconds, it's clear that no meaningful analysis of the woman's career or political agenda will be forthcoming.
    • 35 Metascore
    • 50 Todd McCarthy
    With Melissa McCarthy playing a one-woman demolition team who, for 95 percent of the running time, is a genuine affront to nature, there are unavoidably some laughs here, although the gifted comic actor got more of them in less screen time in her previous films than she does in this starring role.
    • 49 Metascore
    • 50 Todd McCarthy
    Visually, the film is without flair or ambition, conveying no sense of atmosphere or mood. But the performances put it over.
    • 48 Metascore
    • 50 Todd McCarthy
    Earnest and well-intentioned.
    • 50 Metascore
    • 50 Todd McCarthy
    A superficially diverting but substance-free concoction, a would-be thriller as evanescent as a magic trick and one that develops no suspense or rooting interest because the characters possess all the substance of invisible ink.
    • 63 Metascore
    • 50 Todd McCarthy
    Dazzlingly designed and staged in a theatrical setting so as to suggest that the characters are enacting assigned roles in life, this tight and pacy telling of a 900 page-plus novel touches a number of its important bases but lacks emotional depth, moral resonance and the simple ability to allow its rich characters to experience and drink deeply of life.

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