Todd McCarthy

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For 1,587 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 0.6 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 0 Being Human
Score distribution:
1587 movie reviews
    • 70 Metascore
    • 70 Todd McCarthy
    Awfully funny at times.
    • 62 Metascore
    • 70 Todd McCarthy
    Possesses sufficient intrigue to hook audiences and keep them on board much of the way.
    • 59 Metascore
    • 70 Todd McCarthy
    Even with all its ups and downs, there are more than enough bawdy laughs and truthful emotional moments to put this over as a mainstream audience pleaser during a holiday season short on good comedies.
    • 76 Metascore
    • 70 Todd McCarthy
    Bisset throws herself into what is by far the most emotionally demanding role of her career and emerges honorably.
    • 54 Metascore
    • 70 Todd McCarthy
    In his most effective full star turn in perhaps a decade, Kevin Costner dominates as the greenhorn general manager of the beleaguered Cleveland Browns.
    • 68 Metascore
    • 70 Todd McCarthy
    A bizarre story of intrigue, magic and murder in turn-of-the-century Vienna casts a considerable spell in The Illusionist.
    • 56 Metascore
    • 70 Todd McCarthy
    Gussied up with a host of filmmaking tricks in an attempt to keep things lively, this intensely acted little exercise just doesn't have enough going for it, with the exception of gradually growing interest in lead Colin Farrell.
    • 83 Metascore
    • 70 Todd McCarthy
    Writer-director Robert Eggers' debut feature impresses on several fronts, notably in the performances, historical feel and visual precision, but the overall effect is relatively subdued and muted, probably too much so for mainstream scare fans.
    • 56 Metascore
    • 70 Todd McCarthy
    It would be too much to say that what Smith has come up with here is inspired, but it is pretty funny and very energetic.
    • 50 Metascore
    • 70 Todd McCarthy
    A perfectly respectable kid-friendly family offering.
    • 65 Metascore
    • 70 Todd McCarthy
    Although clearly coming from an antiwar perspective, the story's emotional effectiveness and family grounding give the film a real shot at connecting with general audiences across the political spectrum.
    • 65 Metascore
    • 70 Todd McCarthy
    A decidedly specialized affair that will appeal only to certain tastes, but there's plenty to appreciate if you let it seep in.
    • 56 Metascore
    • 70 Todd McCarthy
    Jolie deserves significant credit for creating such a powerfully oppressive atmosphere and staging the ghastly events so credibly, even if it is these very strengths that will make people not want to watch what's onscreen.
    • 77 Metascore
    • 70 Todd McCarthy
    Entertaining in a very showbizzy way.
    • 71 Metascore
    • 70 Todd McCarthy
    A passably entertaining hodgepodge of old and new animation techniques, mixed sensibilities and hedged commercial calculations.
    • 74 Metascore
    • 70 Todd McCarthy
    A muted but nicely observed study of a Russian woman's gradual estrangement from her domineering Memphis music-legend husband.
    • 75 Metascore
    • 70 Todd McCarthy
    The film has nothing if not great vitality and an active creative spirit, but it has all been channeled here in a way that comes off as erratic and sometimes ill-judged.
    • 59 Metascore
    • 70 Todd McCarthy
    Adequately acted and flecked with the required quota of action to satisfy genre fans, pic recalls numerous good police dramas of the 1970s, but mostly in superficial ways that bring nothing new to the table.
    • 87 Metascore
    • 70 Todd McCarthy
    Redford, who can’t avoid exuding charisma, plays this role with utter naturalism and lack of histrionics or self-regard.
    • 57 Metascore
    • 70 Todd McCarthy
    Hardly inexperienced at playing belligerent, outrageous and offensive a-holes, Hill offers a definitive account of one here, to which Teller can only play the blander, if useful, second fiddle who has to try, and try again, to stand up to the gruff bully.
    • 56 Metascore
    • 70 Todd McCarthy
    Although too devoted to matters literary, theatrical, operatic and sexually outre to make it with general audiences, this adaptation of Jonathan Ames' novel exudes the sort of smarts and sophisticated charm specialized audiences seek.
    • 82 Metascore
    • 70 Todd McCarthy
    Audiences looking for something fresh and different, not to mention a head trip, will find it in Waking Life.
    • 61 Metascore
    • 70 Todd McCarthy
    The film itself is limited by the material's nature as a brainy exercise and by its narrow focus; individual response will depend upon how tantalized one is by puzzles and games, as well as upon how off-putting one finds the central character, who is center-stage throughout.
    • 70 Metascore
    • 70 Todd McCarthy
    Put together by Tucker and his co-director/editor wife Petra Epperlein without a hint of artifice, docu offers up its sounds and images bluntly, and they are very much sounds and images worth having as part of the record.
    • 68 Metascore
    • 70 Todd McCarthy
    Director Craig Brewer has given his second feature film a vibrant pulse amplified by an outstanding cast led by Terrence Howard.
    • 72 Metascore
    • 70 Todd McCarthy
    Once again making a diverting but insubstantial movie look better than it is, Downey, with haggard charm to burn, is winning all the way. Kilmer is riotous at times as an impeccably groomed, businesslike guy keen to assert his orientation at every opportunity.
    • 50 Metascore
    • 70 Todd McCarthy
    Franco, employing diverse cinematic techniques from split screen (mostly early on) to direct-to-camera address, makes the Bundrens’ time of trial more immediately coherent than it is on the page without disrespecting Faulkner’s oblique style.
    • 45 Metascore
    • 70 Todd McCarthy
    Director Alan Parker has done a dazzling job creating screen images to accompany the wall-to-wall music, resulting in a musical fresco that is much closer to a sophisticated filmed opera than to any conventional tuner.

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