Todd McCarthy

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For 1,541 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 1.1 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Beasts of the Southern Wild
Lowest review score: 0 Showgirls
Score distribution:
1541 movie reviews
    • 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.
    • 50 Metascore
    • 50 Todd McCarthy
    Even with the addition of new characters, such as the ones voiced by Brad Pitt and Matt Damon, George Miller's animated sequel just isn't very funny.
    • 65 Metascore
    • 50 Todd McCarthy
    Despite its undeniably pure and earnest intent, Solaris is equally undeniably an arid, dull affair that imposes and maintains a huge distance between the viewer and what happens onscreen.
    • 71 Metascore
    • 50 Todd McCarthy
    Although the humor helps, the Groundhog Day-like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster's wheel, going round and round, over and over again.
    • 29 Metascore
    • 50 Todd McCarthy
    The gaps between the hipster comedy of the star, the incipient sentimentality of the story and the gravely depressing reality of the setting provide tonal abysses simply too vast to bridge in Rock the Kasbah, an intermittently amusing but dramatically problematic mish-mash that careens all over a rough and rocky road.
    • 56 Metascore
    • 50 Todd McCarthy
    Compared with high-powered action specialists like James Cameron, director Charles Russell seems content to accomplish just one thing per shot, getting the essentials on the screen but creating no special dynamic or look.
    • 53 Metascore
    • 50 Todd McCarthy
    There is a sense of bloat and where-do-we-go-from here aimlessness to this unconscionably protracted undertaking.
    • 52 Metascore
    • 50 Todd McCarthy
    Nicely cast and made with as much conviction as can be brought to something so intrinsically formulaic.
    • 69 Metascore
    • 50 Todd McCarthy
    The film is offbeat, silly, disarming and loopy all at the same time, and viewers will decide to ride with that or just give up on it, according to mood and disposition.
    • 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.
    • 51 Metascore
    • 50 Todd McCarthy
    Mike and Dave Need Wedding Dates rates medium on the grossness scale (an all-body, pre-marital naked-Indian-guru-administered massage for the bride with a happy ending, anyone?), and pretty high in crude talk. But it's kind of a dud when it comes to endurance and imaginative moves.
    • 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.
    • 66 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.

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