Todd McCarthy
Select another critic »
For 1,413 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 2.5 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Great Museum
Lowest review score: 0 Showgirls
Score distribution:
1,413 movie reviews
    • 54 Metascore
    • 90 Todd McCarthy
    As originated by Grisham and adapted by Akiva Goldsman, this is a story of elemental emotional and legal issues splashed across a large canvas, and director Joel Schumacher has done a solid job of keeping the many components in focus and balance.
    • 54 Metascore
    • 50 Todd McCarthy
    Intermittently engaging but dramatically slack, this tale...is more interesting around the edges than it is at its core, thanks to the dull nature of the lead character played by Matt Damon.
    • 54 Metascore
    • 40 Todd McCarthy
    Allen the writer-director has gone tone-deaf this time around, somehow not realizing that the nonstop prattling of the less-than-scintillating characters almost never rings true.
    • 54 Metascore
    • 70 Todd McCarthy
    The lack of a plausible leading lady is enough to sink what is otherwise an eye-catching, although heavily '90s-style, telling of one of history's most frequently filmed stories.
    • 54 Metascore
    • 50 Todd McCarthy
    The film is ice cold, never finding a way to invite the viewer into the story, and Richard Gere doesn't convince as a Jewish biblical scholar.
    • 54 Metascore
    • 40 Todd McCarthy
    Not the worst but is very far from the best film the star has made in his career.
    • 54 Metascore
    • 70 Todd McCarthy
    Artfully evokes the physical realities of Irish poverty, but mostly misses the humor, lyricism and emotional charge of Frank McCourt's magical and magnificent memoir
    • 54 Metascore
    • 80 Todd McCarthy
    The stylistic fun Stone has in dramatizing this crime of passion thoroughly revitalizes the well-worked genre.
    • 54 Metascore
    • 60 Todd McCarthy
    A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.
    • 54 Metascore
    • 80 Todd McCarthy
    From a filmmaking point of view, this is a work that the old Hollywood moguls themselves would have been proud to present.
    • 54 Metascore
    • 70 Todd McCarthy
    Tells an old-fashioned boys' adventure yarn in an equally old-fashioned way.
    • 54 Metascore
    • 40 Todd McCarthy
    Unfortunately, Barthes brings nothing new to the familiar story.
    • 54 Metascore
    • 70 Todd McCarthy
    The look, styles, dialogue and attitudes all feel more 21st century than 1968, but this new Sparkle still sparkles more brightly than its 1976 namesake, which was a sort of rough draft for Dreamgirls.
    • 54 Metascore
    • 70 Todd McCarthy
    Preposterous whimsy that sort of gets by thanks to lustrous settings, slick production values and, especially, its ultra-attractive stars.
    • 54 Metascore
    • 40 Todd McCarthy
    Rather like a cross between "Up in Smoke" and an episode of "The Jeffersons, Friday is a crudely made, sometimes funny bit of porchfront humor from the 'hood.
    • 54 Metascore
    • 70 Todd McCarthy
    The perennially insecure world of two-bit character actors is humorously and knowingly explored in With Friends Like These. (Review of Original Release)
    • 54 Metascore
    • 70 Todd McCarthy
    Undeniably funny, outrageous and boundary-pushing, this further documentation of Sacha Baron Cohen's sheer nerve will draw an abundant share of "Borat" fans.
    • 54 Metascore
    • 40 Todd McCarthy
    None of the characters is given much depth or meaningful backgrounding, leaving the capable thesps with plenty of anguish and emotion to play but not much else.
    • 54 Metascore
    • 60 Todd McCarthy
    The homily-laden wrap-up, stressing the upside of bad days, is enough to make you hold your nose, but it only lasts a moment, which is suggestive of the way Arteta and the cast provide the energy and momentum to get the job done but not overstay their welcome.
    • 54 Metascore
    • 70 Todd McCarthy
    Oblivion is an absolutely gorgeous film dramatically caught between its aspirations for poetic romanticism and the demands of heavy sci-fi action. After a captivating beginning brimming with mystery and evident ambition, the air gradually seeps out of the balloon that keeps this thinly populated tale aloft, leaving the ultimate impression of a nice try that falls somewhat short of the mark.
    • 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.
    • 54 Metascore
    • 30 Todd McCarthy
    Defiantly uncommunicative picture.
    • 54 Metascore
    • 60 Todd McCarthy
    From a performance p.o.v., Aselton and Shepard hold the screen well and are most watchable, and Aselton does a fluid directing job within the limited challenge she set for herself production-wise.
    • 54 Metascore
    • 50 Todd McCarthy
    Amiable but no more, Bee Movie puts a hiveful of potent talent at the service of a zig-zigging, back-of-an-envelope story that's short on surprise and originality.
    • 54 Metascore
    • 80 Todd McCarthy
    Ending is on the conventional side, more so than anything else in the picture , but script by Ann Biderman and David Madsen keeps the tart surprises coming throughout most of the picture with only occasional lapses into red herrings and artificial manipulation.
    • 54 Metascore
    • 40 Todd McCarthy
    An annoying example of self-therapy posing as art.
    • 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.
    • 53 Metascore
    • 70 Todd McCarthy
    The uniformly winning cast, led by Steve Martin, Jack Black and Owen Wilson, and the ultra-accessible touch provided by director David Frankel provide for a constant steam of gentle mirth, if not huge laughs.
    • 53 Metascore
    • 50 Todd McCarthy
    Director Sturla Gunnarsson seems aware of the savagery intrinsic to the story, but is unable to mine it deeply, proving too genteel in the end to make a genuinely creepy or disturbing film.
    • 53 Metascore
    • 90 Todd McCarthy
    George Lucas has reached deep into the trove of his self-generated mythological world to produce a grand entertainment that offers a satisfying balance among the series' epic, narrative, technological and emotional qualities.
    • 53 Metascore
    • 80 Todd McCarthy
    Robert De Niro and writer-director Paul Weitz find the most congenial material either of them has had in quite some time in Being Flynn.
    • 53 Metascore
    • 60 Todd McCarthy
    An immediately involving yarn of an ace Marine sharpshooter set up to take the fall for an attempted presidential assassination, picture saddles itself with stereotypical villains, hokey contrivances and too-expedient crisis solutions.
    • 53 Metascore
    • 40 Todd McCarthy
    By far the least ambitious, and certainly the least interesting, animated feature to come out of Disney in quite some time.
    • 53 Metascore
    • 70 Todd McCarthy
    The Devil's Own is neither the best nor the worst $90 million-$100 million-area budgeted picture ever made, but it must be the one in which the cost is least evident on the screen.
    • 53 Metascore
    • 60 Todd McCarthy
    Nair's approach never entirely convinces, and the adaptation of the 900-plus-page book becomes increasingly episodic, making this Vanity Fair more a collection of intermittent pleasures than a satisfying emotional repast.
    • 53 Metascore
    • 70 Todd McCarthy
    Benefits greatly from Kevin Kline's outstanding performance as the ultra-sophisticated songwriter whose resilient marriage anchored a complicated double life.
    • 53 Metascore
    • 80 Todd McCarthy
    Just as quirky and idiosyncratic as the Gotham-based writer-director's earlier efforts, this one pushes the spiky humor a bit more to the fore while unfolding a tale loaded with offbeat oppositions and odd character detailing.
    • 53 Metascore
    • 40 Todd McCarthy
    After slipping badly with the second installment two years ago, the Narnia franchise does a full-on belly flop with this third.
    • 53 Metascore
    • 40 Todd McCarthy
    The Hudsucker Proxy is no doubt one of the most inspired and technically stunning pastiches of old Hollywood pictures ever to come out of the New Hollywood. But a pastiche it remains, as nearly everything in the Coen brothers' latest and biggest film seems like a wizardly but artificial synthesis, leaving a hole in the middle where some emotion and humanity should be.
    • 53 Metascore
    • 70 Todd McCarthy
    The film succeeds in that it provides a more vivid sense of this sort of 19th century childhood -- and Lincoln’s youth in particular -- than most people would have had before.
    • 53 Metascore
    • 50 Todd McCarthy
    A film that should but doesn't get under your skin and give you the creeps.
    • 53 Metascore
    • 60 Todd McCarthy
    A potentially provocative idea is played out to diminishing returns.
    • 53 Metascore
    • 40 Todd McCarthy
    It's hard to find the genuine heartfelt moments in The Lucky Ones.
    • 53 Metascore
    • 50 Todd McCarthy
    Some mordant comic touches would have been welcome throughout the picture, which has a somber tone that suffers a bit from lack of modulation and nuance.
    • 53 Metascore
    • 70 Todd McCarthy
    Deliberately anachronistic in its heightened style of romance, villainy and destiny, the epic lays an Aussie accent on colorful motifs drawn from Hollywood Westerns, war films, love stories and socially conscious dramas. Some of it plays, some doesn't, and it is long.
    • 53 Metascore
    • 70 Todd McCarthy
    A self-described abstinence comedy that is funny, sexy and silly in equal measure.
    • 53 Metascore
    • 50 Todd McCarthy
    Jig
    The film's inability to illuminate the finer points of the rigid form, to define what separates the great from the good, proves frustrating for the outsider.
    • 53 Metascore
    • 50 Todd McCarthy
    There is a sense of bloat and where-do-we-go-from here aimlessness to this unconscionably protracted undertaking.
    • 53 Metascore
    • 60 Todd McCarthy
    This perky, episodic film is as broad and obvious as it could be, but delivers on its own terms thanks to sparky chemistry between its sunny blond stars, Owen Wilson and Jennifer Aniston, and the unabashed emotion-milking of the final reel.
    • 53 Metascore
    • 50 Todd McCarthy
    As novel and absorbing as In Time is in several respects, however, Andrew Niccol's latest conception of an altered but still recognizable future feels undernourished in other ways that are not as salutary, preventing the film from fulfilling its strong inherent promise.
    • 52 Metascore
    • 50 Todd McCarthy
    Simultaneously contrived and genuinely felt.
    • 52 Metascore
    • 60 Todd McCarthy
    This entertaining confection possesses the substance of the TV show, the pacing of a Hong Kong actioner and the production values of a James Bond thriller.
    • 52 Metascore
    • 60 Todd McCarthy
    Although uneven and too deliberately obscure in meaning to be entirely satisfying, result remains sufficiently intriguing and startling to bring many of Lynch's old fans back on board for this careening ride.
    • 52 Metascore
    • 50 Todd McCarthy
    Memories of dreary Sunday school classes come flooding back courtesy of The Nativity Story.
    • 52 Metascore
    • 70 Todd McCarthy
    Chick agreeably captures the feel and flow of on-the-move young professionals in New York.
    • 52 Metascore
    • 50 Todd McCarthy
    Mix Brigitte Bardot in "And God Created Woman" with Carroll Baker in "Baby Doll," sex it up times 10 and you have a notion of the effect of Christina Ricci in Black Snake Moan.
    • 52 Metascore
    • 40 Todd McCarthy
    Although there’s talent on display in all aspects of this time-jumping, visually distinctive independent that rests its commercial hopes on the names of leads Justin Long and Emmy Rossum, Esmail strenuously overplays his hand with the torrent of obnoxious dialogue he asks his male lead to deliver, which is enough to make one want to run out several times for a breather.
    • 52 Metascore
    • 50 Todd McCarthy
    A strange international odyssey that becomes more complicated and loony by the moment. Some viewers will undoubtedly tune out early, others will follow as far as they can -- and a privileged few might make it all the way.
    • 52 Metascore
    • 80 Todd McCarthy
    Dramatically powerful, surprising in its strong narrative differences from previous cinematic tellings of "the greatest story" and bold in the extent to which it presents Jesus as a confrontational and threatening figure in the Judean context of the time.
    • 52 Metascore
    • 40 Todd McCarthy
    Saddled with a sentimentally "sincere" subject and lacking the stylistic and humorous cachet of the recent computer-animated smashes.
    • 52 Metascore
    • 60 Todd McCarthy
    The picture is lacking in the uproarious humor that might well have ensued from the material, which instead inspires occasional laughs but, much more often, bemused fascination and wonderment at the bizarre imaginations and impressive skill of the filmmakers.
    • 52 Metascore
    • 50 Todd McCarthy
    Although involving, this remake of a recent French film never reaches the anticipated heights of excitement and suspense.
    • 52 Metascore
    • 60 Todd McCarthy
    LaBute has had middling success at best, having come up with a passably engaging time-jumping romantic melodrama that at least grapples seriously with one of the novel's most potent themes.
    • 52 Metascore
    • 70 Todd McCarthy
    Apart from not knowing to quit while it's ahead, Con Air provides quite an exciting flight prior to its crash and burn.
    • 52 Metascore
    • 40 Todd McCarthy
    Will serve as an excellent gauge of any viewer's tolerance level for schmaltzy contrivance and manipulation.
    • 52 Metascore
    • 50 Todd McCarthy
    Well-crafted but thoroughly unsuspenseful.
    • 52 Metascore
    • 80 Todd McCarthy
    A deliriously trashy, exuberantly vulgar, lavishly appointed exploitation picture, this weird combo of road-kill movie and martial-arts vampire gorefest is made to order for the stimulation of teenage boys.
    • 52 Metascore
    • 60 Todd McCarthy
    Undeniably fascinating as a visit to a world you'd never have wanted to have come near in real life -- that of the Hussein family's inner sanctum -- the film falls crucially short by not providing a window into the mind of the man who was coerced into acting as his double.
    • 52 Metascore
    • 80 Todd McCarthy
    The final installment of the immortal Bella/Edward romance will give its breathlessly awaiting international audience just what it wants.
    • 52 Metascore
    • 40 Todd McCarthy
    Recycles familiar adventure and cartoon devices with minimal wit and flair, and the lack of imagination will seem all the more dramatic to audiences in comparison to the winningly sophisticated "Shrek."
    • 52 Metascore
    • 60 Todd McCarthy
    The antics here are strained, graceless and tiresomely crude, the sorts of things audiences feel they're supposed to laugh at rather than well-developed situations that generate genuine amusement.
    • 52 Metascore
    • 40 Todd McCarthy
    It's a quick trip from whimsy to silliness in Be Kind Rewind, a notably ephemeral work by Michel Gondry, whose flights of fancy can't overcome the egregious illogic of the premise.
    • 52 Metascore
    • 60 Todd McCarthy
    This Spanish-lingo farce plays very much like an SNL sketch. The only problem is that it packs about as many laughs into its 85 minutes as a good skit does in eight or 10.
    • 52 Metascore
    • 70 Todd McCarthy
    (Stone's) most accessible and purely enjoyable film in years.
    • 52 Metascore
    • 40 Todd McCarthy
    Ultimately a mess of diverse ingredients that sorely could have used a rigorous screening process to eliminate all the chaff.
    • 52 Metascore
    • 70 Todd McCarthy
    Eastwood is in good, sly form, once again delighting in a character's splendid solitude and singular skill at what he does.
    • 52 Metascore
    • 60 Todd McCarthy
    The generational mix of actors works well enough, although Campbell too often seems stranded with little to do until the climax.
    • 52 Metascore
    • 50 Todd McCarthy
    Will please fans of Sara Gruen's best seller, but it lacks the vital spark that would have made the drama truly compelling on the screen.
    • 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.
    • 52 Metascore
    • 50 Todd McCarthy
    Graced with well-chosen location eye candy, Tom Tykwer's biggest production to date is proficient but lacks the added tension and characterization to put it anywhere near the top tier of contempo action suspensers.
    • 52 Metascore
    • 60 Todd McCarthy
    So determinedly old-fashioned it makes a strong claim to being the best film musical of 1959.
    • 52 Metascore
    • 50 Todd McCarthy
    Cage supplies beaucoup energy, but his highly compromised hustler cop character provides little else in which he can invest his talent. Sinise wears an increasingly grim demeanor in a part that comes to make no sense, and John Heard's role as a local power broker gets lost in the shuffle.
    • 52 Metascore
    • 30 Todd McCarthy
    A noxious little tale of Wall Street types whose amorality knows no limit, Rick takes smarmy knowingness to ludicrous extremes.
    • 52 Metascore
    • 50 Todd McCarthy
    Terse and understated, this is a spy vs. spy tale designed to minimize talk and maximize action, not at all a bad thing in movies but over-worked to near-exhaustion here.
    • 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.
    • 52 Metascore
    • 90 Todd McCarthy
    Reitman keeps a strong grip on all the aspects of the story to prevent it from becoming corny, unduly melodramatic or obvious.
    • 52 Metascore
    • 50 Todd McCarthy
    An intensely sophomoric and rampantly uneven comic takedown of an easy but worrisomely unpredictable target.
    • 52 Metascore
    • 50 Todd McCarthy
    Nicely cast and made with as much conviction as can be brought to something so intrinsically formulaic.
    • 51 Metascore
    • 50 Todd McCarthy
    Impressively rendered but oddly uninviting adventure.
    • 51 Metascore
    • 40 Todd McCarthy
    This wan, mundane coming-of-ager focuses on kids enacting a pale imitation of '50s car-centered, "American Graffiti"-style time-killing, with the impediment of exceptionally dull dialogue.
    • 51 Metascore
    • 70 Todd McCarthy
    Made mainly by Yanks and New York-based Dominicans, the vibrant film bursts with local color and trades in very specific aspects of criminality, island-style.
    • 51 Metascore
    • 60 Todd McCarthy
    The lead role of a working class former smuggler who dirties his hands again to save his family fits Mark Wahlberg like a glove.
    • 51 Metascore
    • 60 Todd McCarthy
    300
    A blustery, bombastic, visually arresting account of the Battle of Thermopylae as channeled through the rabid imagination of graphic novelist Frank Miller.
    • 51 Metascore
    • 50 Todd McCarthy
    Todd Phillips' follow-up to the most successful R-rated comedy of all time serves up its share of laughs while not actually providing a terribly enjoyable time because of a queasy undercurrent that never goes away.
    • 51 Metascore
    • 80 Todd McCarthy
    A spectacularly gung-ho sci-fi epic that delivers two hours of good, nasty fun.
    • 51 Metascore
    • 70 Todd McCarthy
    Director Andrew Stanton's Disney extravaganza is a rather charming pastiche.
    • 51 Metascore
    • 70 Todd McCarthy
    It's all sufficiently well done and amusing enough to satisfy the appetites of fans who mainline this sort of thing, but it also sports a concocted, second-hand feel common to this sort of throwback homage.
    • 51 Metascore
    • 70 Todd McCarthy
    There's little facetious comedy a la the "Pirates of the Caribbean" series. It's all traditional stuff, done well but without an original spark.
    • 51 Metascore
    • 70 Todd McCarthy
    Unusual for this sort of thing, Snitch is a film after which you remember the characters and actors more than the big action moments.
    • 51 Metascore
    • 50 Todd McCarthy
    The film only intermittently displays the snap, precision and stylistic smarts a mixed-tone project like this requires; a half-good effort is not enough where buoyancy and a sly-to-mean spiritedness are required at all times.
    • 51 Metascore
    • 40 Todd McCarthy
    A strained and pallid concoction that won't fire the collective imaginations of modern children.
    • 51 Metascore
    • 70 Todd McCarthy
    Tries to mix the messy realities of mismatched relationships with the structural neatness of a musical-comedy view of the world, with mild, occasionally diverting results.
    • 51 Metascore
    • 30 Todd McCarthy
    A stillborn would-be comedy.
    • 51 Metascore
    • 70 Todd McCarthy
    Sprinkled with just enough laughs, close shaves and compromising positions to keep audiences mildly interested, this old-fashioned popcorn picture is agreeably breezy and colorful, but lacks the pizzazz and star chemistry of a genre ancestor such as "Romancing the Stone."
    • 51 Metascore
    • 40 Todd McCarthy
    As detrimental as anything to the film’s effectiveness are the visuals, which are murky, lack compositional interest and do the actors no favors.
    • 51 Metascore
    • 60 Todd McCarthy
    Phantom is easily consumable eye candy, but it contains no nutrients for the heart or mind.
    • 51 Metascore
    • 60 Todd McCarthy
    A creepy, well-acted story of contagious evil, Apt Pupil has more than enough chilling dramatic scenes to rivet the attention but suffers from some hokey contrivances and underlying insufficiencies of motivation.
    • 51 Metascore
    • 40 Todd McCarthy
    So second-hand and disposable is it in every respect.
    • 51 Metascore
    • 70 Todd McCarthy
    The Call for the most part is a tense, extreme-jeopardy thriller that delivers the intended goods.
    • 51 Metascore
    • 40 Todd McCarthy
    Without Watts, Scott Coffey's feature-length expansion of his identically titled short wouldn't amount to much.
    • 51 Metascore
    • 70 Todd McCarthy
    Given all the ways a project like this could have gone wrong, the result is surprisingly good on several fronts, beginning with a shrewd structure that fosters an intelligent dual perspective on the public and private aspects of the Deep Throat phenomenon.
    • 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.
    • 50 Metascore
    • 50 Todd McCarthy
    Predictable, cutesy and nowhere near hot-blooded enough.
    • 50 Metascore
    • 60 Todd McCarthy
    Red State is cleverly contrarian enough to get a rise out of almost any audience.
    • 50 Metascore
    • 40 Todd McCarthy
    Largely listless and witless, this extensive reworking of the 1968 sci-fi favorite simply isn't very exciting or imaginative; most surprisingly, given the material, it's also Burton's most conventional and literal-minded film, the one most lacking in his trademark poetic weirdness and bracing flights of fancy.
    • 50 Metascore
    • 70 Todd McCarthy
    Agreeably prepared and attractively presented, this remake of the tasty 2001 German feature "Mostly Martha" bears too many earmarks of Hollywood packaging and emotional button-pushing, but doesn't go far wrong by closely sticking to the original's smart story construction.
    • 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.
    • 50 Metascore
    • 60 Todd McCarthy
    A generic suspenser that doesn't taste bad at first bite but becomes increasingly hard to swallow, The Saint comes off more as a pallid imitation of Paramount's Eurothriller "Mission: Impossible" than as anything resembling the further adventures of Leslie Charteris' charming rogue.
    • 50 Metascore
    • 70 Todd McCarthy
    Fronted by an outstanding performance from Catherine Keener, who is onscreen, often by herself, at almost every moment, this challenging but not difficult second feature from Mark Jackson parcels out its information in gradual increments, forcing the viewer to infer rather simply receive most narrative information.
    • 50 Metascore
    • 70 Todd McCarthy
    A perfectly respectable kid-friendly family offering.
    • 50 Metascore
    • 80 Todd McCarthy
    Tom Cruise is in fine form as mysterious tough guy Jack Reacher finally reaches the big screen.
    • 50 Metascore
    • 50 Todd McCarthy
    A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.
    • 50 Metascore
    • 60 Todd McCarthy
    Engrossing but psychologically shallow tale.
    • 50 Metascore
    • 60 Todd McCarthy
    Picture is impressively crafted and acted but far too narrowly and benignly conceived to satisfy even on its own terms.
    • 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.
    • 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.
    • 49 Metascore
    • 20 Todd McCarthy
    Newman's charismatic, multishaded performance elevates the hodgepodge caper comedy a couple of notches above its preposterous plotting and self-consciously movieish texture.
    • 49 Metascore
    • 30 Todd McCarthy
    There is no one to become attached to in The Four Feathers, no interest or sympathies appealed to or engaged.
    • 49 Metascore
    • 70 Todd McCarthy
    A breezy, sexy romp with a conscience that reflects in obvious but interesting ways on societal changes over the intervening 38 years.
    • 49 Metascore
    • 30 Todd McCarthy
    They just don't make 'em like this anymore, and it's a good thing, too.
    • 49 Metascore
    • 50 Todd McCarthy
    Disappointingly, Death of a President shrinks from its promise as a piece of genuinely radical or adventurous speculative fiction.
    • 49 Metascore
    • 70 Todd McCarthy
    Handsomely mounted and amiably performed but leisurely and without much dramatic urgency.
    • 49 Metascore
    • 40 Todd McCarthy
    Harmless tale of the giant pooch helping out some itinerant performing animals while longing for home will go down smoothly with the preschool faithful, but anyone over 5 will feel antsy even given the brief running time.
    • 49 Metascore
    • 50 Todd McCarthy
    For actor and director, the project seems like trying on a new coat, and it doesn't fit either of them.
    • 49 Metascore
    • 80 Todd McCarthy
    The visual effects are pretty sensational, delivering the cutting-edge CGI goods auds want and expect. It will be hard to watch "Earthquake'' ever again after this one.
    • 49 Metascore
    • 50 Todd McCarthy
    It all ends up being a half-hour too much of a just okay thing.
    • 49 Metascore
    • 60 Todd McCarthy
    A mostly standard-issue latter-day Arnold Schwarzenegger actioner spiked with a creepily plausible cloning angle.
    • 49 Metascore
    • 50 Todd McCarthy
    Yields up plenty of opportunities for heated confrontations, wild and woolly dialogue and startling violence, which prove diverting in a shallow way.
    • 49 Metascore
    • 60 Todd McCarthy
    As computer game-derived features go, it sure beats "Lara Croft: Tomb Raider."
    • 49 Metascore
    • 50 Todd McCarthy
    Heijningen doesn't display the instinct of the best Hollywood action directors to give the audience what it craves at the big moments, except for a few gory in-your-face shots.
    • 49 Metascore
    • 70 Todd McCarthy
    As overcranked as it is -- the film is directed as if it were an action drama, with two or three times more cuts than necessary -- People Like Us has a persuasive emotional pull at its heart that's hard to deny.
    • 49 Metascore
    • 50 Todd McCarthy
    Would have made for a fine film noir 60 years ago but feels rather contrived and unbelievable in the setting of contemporary New York.
    • 49 Metascore
    • 50 Todd McCarthy
    A below-par star vehicle for Mel Gibson and Julia Roberts, Conspiracy Theory is a sporadically amusing but listless thriller that wears its humorous, romantic and political components like mismatched articles of clothing.
    • 49 Metascore
    • 30 Todd McCarthy
    The effects are snazzy, even if they pass by quite quickly, and there's enough going on to keep audiences watching, if not entirely happy. Smith, Theron and Bateman capably handle the main roles, but such is the skimpiness of the scenario that no further characters make any impact.
    • 49 Metascore
    • 30 Todd McCarthy
    Lars von Trier cuts a big fat art-film fart with Antichrist. As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images.
    • 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.
    • 49 Metascore
    • 70 Todd McCarthy
    Builds and sustains considerable interest through its unexpected characterizations, unusual milieu and atmospheric style.
    • 49 Metascore
    • 60 Todd McCarthy
    Elaborate, sporadically amusing but awfully lightweight followup, which has close to the same tone as its predecessor but makes one realize that freshness had a lot to do with its impact.
    • 49 Metascore
    • 60 Todd McCarthy
    Takes plenty of liberties with the material and never generates much genuine excitement, but provides an agreeable ride without overloading it with contemporary filmmaking mannerisms.
    • 49 Metascore
    • 60 Todd McCarthy
    "Chinatown" it ain't, not in any department. On its own level, however, new pic generates a reasonable degree of intrigue.
    • 49 Metascore
    • 80 Todd McCarthy
    Where the film misses its biggest bet, however, is in depriving the animals of the voices they had in the animated version.
    • 49 Metascore
    • 40 Todd McCarthy
    Funny as much of the action is, however, the approach feels rather less fresh, and the gross-outs seem more gratuitous.
    • 49 Metascore
    • 80 Todd McCarthy
    Sophisticated, sexy and stylishly decked out, Rob Marshall's disciplined, tightly focused film impresses and amuses.
    • 49 Metascore
    • 30 Todd McCarthy
    A creaky haunted house that, once the big twist is revealed, makes very little sense at all.
    • 49 Metascore
    • 60 Todd McCarthy
    Absorbing in a low-key way but more dramatic where its secondary characters are concerned than its leads, and capped by climactic incidents that are less than entirely convincing.
    • 49 Metascore
    • 50 Todd McCarthy
    Like many action stars, Statham is good at cool brooding, but West's frantic style works against this.
    • 49 Metascore
    • 30 Todd McCarthy
    It’s impossible to buy into the film’s plea to be taken seriously at the end, just as the upbeat finale feels false.
    • 49 Metascore
    • 40 Todd McCarthy
    Represents a passable follow-up to the venerable Peter Pan story and mercifully, at 72 minutes, is exactly half the length of the last attempt at same, Steven Spielberg's lamentable "Hook."
    • 48 Metascore
    • 60 Todd McCarthy
    After the accomplished smoothness of "Match Point," it's back to more ragged form in Scoop, despite the almost identical posh settings, and the return of Scarlett Johansson as leading lady.
    • 48 Metascore
    • 50 Todd McCarthy
    The Judge is well served by intense performances from stars Robert Downey Jr. and Robert Duvall, but is undercut by obvious note-hitting in the writing and a deliberate pace that drags things out about twenty minutes past their due date.
    • 48 Metascore
    • 50 Todd McCarthy
    While the surfaces, backgrounds and sense of constant motion are authentic to their tinselly cores, what goes on among the fictional participants resembles gag-reliant improv routines that haven’t been entirely worked out.
    • 48 Metascore
    • 40 Todd McCarthy
    A bland and dour screen version of Sebastian Faulks' highly engrossing bestseller.
    • 48 Metascore
    • 50 Todd McCarthy
    Earnest and well-intentioned.
    • 48 Metascore
    • 60 Todd McCarthy
    After quite a few tedious detours and distractions, when the film finally gets down to the business of a climax at a gathering of elite European diplomats in a precariously perched Swiss mountain castle, it becomes not half-bad.
    • 48 Metascore
    • 40 Todd McCarthy
    A certain staleness hangs over the proceedings despite the best efforts of the cast and the fun-minded creative team.
    • 48 Metascore
    • 40 Todd McCarthy
    Lahti's feature directorial debut walks an innocuous middle line between the story's maudlin possibilities and its meaningful potential.
    • 48 Metascore
    • 60 Todd McCarthy
    A very mild animated entry from Disney with a distinctly recycled feel.
    • 48 Metascore
    • 60 Todd McCarthy
    A blatant commodity designed to illustrate what a splendid influence the hit television show has been on the world at large, if the series' creators don't mind saying so themselves.
    • 48 Metascore
    • 70 Todd McCarthy
    Although formulaic in design and programmed to meet its quota of laughs, the film makes a point of going beyond basic expectations into some legitimate aspects of mature friendships without getting soggy about it.
    • 48 Metascore
    • 40 Todd McCarthy
    Short on real drama and incident and long on tedium.
    • 48 Metascore
    • 30 Todd McCarthy
    Despite a couple of unconvincingly upbeat tacked-on moments at the end, Project X basically reads as nihilistic, as not believing in or standing for anything. Not even fun.
    • 48 Metascore
    • 70 Todd McCarthy
    An unusually sober and serious-minded telling of Alexandre Dumas' classic tale, this handsome costumer is routinely made and comes up rather short in boisterous excitement.
    • 48 Metascore
    • 50 Todd McCarthy
    In its animated work, DreamWorks has repeatedly flip-flopped between the hip and the square. This time out, it's as if the company tried to apply a hip approach to a square subject, with unresolved results.
    • 48 Metascore
    • 40 Todd McCarthy
    Schneider hams it up as a paunchy middle-aged Hawaiian stoner in an eyebrow-raising ethnic caricature that more than once calls to mind Mickey Rooney's unfortunate Japanese turn in "Breakfast at Tiffany's."
    • 48 Metascore
    • 60 Todd McCarthy
    This is one of those pictures that unavoidably becomes part of the zeitgeist due to its coincidental arrival at a precise moment in history when its themes play into current events.
    • 48 Metascore
    • 30 Todd McCarthy
    Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer.
    • 48 Metascore
    • 50 Todd McCarthy
    Beautiful to look at, this is nothing more than a Little Engine That Could story refitted to accommodate aerial action and therefore unlikely to engage the active interest of anyone above the age of about 8, or 10 at the most.
    • 48 Metascore
    • 50 Todd McCarthy
    Lives up to its name by serving up a fraction of what audiences are used to getting in this department from PixarPixar and DreamWorks -- little originality, little humor and little ingratiating characterization.
    • 48 Metascore
    • 50 Todd McCarthy
    Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe.
    • 48 Metascore
    • 60 Todd McCarthy
    Remains exciting as long as it stays on the mountains.
    • 48 Metascore
    • 60 Todd McCarthy
    More palatable than most pictures of its ilk due to its keen awareness of its own preposterousness, a self-knowledge exuberantly expressed by a mostly live-wire cast.
    • 48 Metascore
    • 30 Todd McCarthy
    Universal’s attempt to find gold by bringing to new life one of the mustier items in its vaults is pure hokum and scarcely of the first order.
    • 48 Metascore
    • 60 Todd McCarthy
    A fine group of comic performers manages to keep the screen worth looking at despite the obsessively one-note nature of this curious matchup between MTV Films and producer Scott Rudin.
    • 48 Metascore
    • 50 Todd McCarthy
    Other than for the pleasure of watching Green try to conquer ancient Greece dressed as a distant forebearer of Catwoman, more is less and a little late in this long-aborning sequel.
    • 48 Metascore
    • 60 Todd McCarthy
    Less turgid and aggravating than its predecessor, this cleverly produced melodrama remains hamstrung by novelist's Dan Brown's laborious connect-the-dots plotting and the filmmakers' prosaic literal-mindedness in the face of ripe historical antagonisms, mystery and intrigue.
    • 48 Metascore
    • 70 Todd McCarthy
    At this stage, Pritikin shows considerably more aptitude for writing than for directing, and the exuberant eruptions of humor lead one to suspect he should try for outright comedy next time and forget the sentiment.
    • 48 Metascore
    • 40 Todd McCarthy
    Could use a little extra comic poundage. The Farrelly brothers' latest sees the team tapping a sweeter, milder vein of humor than their outrageous norm.
    • 48 Metascore
    • 70 Todd McCarthy
    Good silly fun, Alien Trespass is a dead-on spoof of cheapo '50s sci-fi programmers done with plenty of self-deprecating humor.
    • 48 Metascore
    • 50 Todd McCarthy
    Deftly playing Tina Fey's feminist-icon mother, Lily Tomlin all but steals Admission, a knowing but uneven comedy about the neuroticism of the college-admission process on both sides of the equation.
    • 48 Metascore
    • 70 Todd McCarthy
    As a rich, gum-chewing matron who tools around in her canary-yellow Rolls-Royce, Flanagan is the picture's real scene-stealer.
    • 48 Metascore
    • 70 Todd McCarthy
    Virtually bursts with visual goodies, and writer-director Stephen Sommers scarcely allows the actors, or the audience, a moment to take a breath during the nonstop action of the final hour.
    • 48 Metascore
    • 60 Todd McCarthy
    With the combination of mobster characters and heavily R&B, hip-hop and disco/soul tune orientation of the soundtrack, pic has a more streetwise feel than most animated fare, which is not to say that it has street smarts.
    • 47 Metascore
    • 60 Todd McCarthy
    Sheer energy and audience allure to burn, even if numerous speed bumps cause many of the comic possibilities to go tumbling overboard.
    • 47 Metascore
    • 50 Todd McCarthy
    A simple repast consisting of sometimes strained slapsticky comedy, a sweet romance and a life lesson learned, this little picnic doesn't amount to much but goes down easily enough.
    • 47 Metascore
    • 60 Todd McCarthy
    A crudely funny farce that covers no new ground but sees its talented players running some surefire plays.
    • 47 Metascore
    • 80 Todd McCarthy
    If an age produces the renditions of classic stories that reflect those times, then The Passion of the Christ, which is violent, contentious, emotional, extreme and highly proficient, must be the Jesus movie for this era.
    • 47 Metascore
    • 50 Todd McCarthy
    You can virtually see the mystique peeling away while beholding the turgid melodrama, patchy plotting, windy dialogue and, yes, spectacular combat effects of this grand finale.
    • 47 Metascore
    • 40 Todd McCarthy
    Overstays its welcome by at least a half-hour after never getting very high off the ground in the first place.
    • 47 Metascore
    • 30 Todd McCarthy
    The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
    • 47 Metascore
    • 60 Todd McCarthy
    Lovingly and knowledgeably made by director Tony Bill, who got his pilot's license as a teenager, pic nonetheless has a lightweight, airbrushed feel; despite the brutal dogfights and inevitable deaths, there's little gravity or resonance.
    • 47 Metascore
    • 60 Todd McCarthy
    Atom Egoyan's most mainstream and genre-oriented picture in his 20-year career applies a thick noir lacquer to a jumbled, time-jumping tale of a young female journalist prying the facts out of the aging entertainers and their cronies.
    • 47 Metascore
    • 50 Todd McCarthy
    A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.
    • 47 Metascore
    • 30 Todd McCarthy
    Delivers only annoyance and impatience.
    • 47 Metascore
    • 60 Todd McCarthy
    An unabashedly old-fashioned entertainment loaded with traditional dancing and music.
    • 47 Metascore
    • 70 Todd McCarthy
    A disarmingly pulpy, eye-popping disaster movie during its first half, and an increasingly dull survival melodrama during its second.
    • 47 Metascore
    • 30 Todd McCarthy
    Cronenberg is a master of creating and sustaining a mood of insinuating cool and dark allure, but while the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch.
    • 47 Metascore
    • 50 Todd McCarthy
    The major jolt is saved for the very end but, like much else in the film, it is overexplained and underlined when more simplicity and quiet would have provided the revelation with the power of a depth charge.
    • 47 Metascore
    • 50 Todd McCarthy
    Unfortunately, story's tension climaxes a half-hour before the film is over, and thereafter dissipates much of the charge and good will generated up to that point.
    • 47 Metascore
    • 60 Todd McCarthy
    One of the more absorbing and palatable entries in the rather disreputable "Death Wish"-style self-appointed vigilante sub-genre.
    • 47 Metascore
    • 40 Todd McCarthy
    If you're going to ask an audience to sit through a three-hour, nine-minute rendition of an oft-told story, it would help to have a strong point of view on your material and an urgent reason to relate it. Such is not the case with Wyatt Earp, a handsome, grandiose gentleman's Western that tries to tell evenhandedly more about the famous Tombstone lawman than has ever before been put onscreen.
    • 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.
    • 47 Metascore
    • 50 Todd McCarthy
    This comically intended battle of the species is family entertainment for families that will buy anything.
    • 47 Metascore
    • 60 Todd McCarthy
    Refreshingly revisionist in the sense that it takes a relatively clear-eyed view of the messy lives and equivocal circumstances of many of the key participants.
    • 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.
    • 46 Metascore
    • 70 Todd McCarthy
    Impressively made and well acted by an exceedingly attractive cast, this dark tale of ceaseless conflict is adult entertainment and will likely disappoint viewers expecting a "Camelot"-like love triangle.
    • 46 Metascore
    • 50 Todd McCarthy
    Every character here is so squeaky-clean, and the prejudice as depicted is so toothless and easily overcome, that the film feels like a gingerly fantasy version of what, in real life, was an exceptional example of resilient trail-blazing.
    • 46 Metascore
    • 30 Todd McCarthy
    It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.
    • 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
    • 40 Todd McCarthy
    A dramatic situation that should be wrenching is mostly tedious in Reservation Road.
    • 46 Metascore
    • 80 Todd McCarthy
    Best of all, von Sydow is absolutely wonderful, with the great veteran actor clearly relishing this very unusual role as he darts, skulks and, in a stealthy way, mugs across town. Without saying a thing, he dominates the middle part of the movie.
    • 46 Metascore
    • 40 Todd McCarthy
    Immortals is not only entirely without humor, but is dominated by a lot of huffing and puffing, thunderous self-importance and windy Socratic quotations about the immortality and divinity of men's souls. You just have to roll your eyes after a while.
    • 46 Metascore
    • 70 Todd McCarthy
    It's raffish, flashy, energetic, entertaining and not very deep.
    • 46 Metascore
    • 40 Todd McCarthy
    The subject being race relations, Manderlay is bound to stir considerable debate in intellectual circles, but given the director's abstract style and use of characters to enact an agenda, it's a discussion that will exclude the general public, who will ignore it as they did "Dogville."
    • 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
    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.
    • 46 Metascore
    • 20 Todd McCarthy
    Senselessly long at two-and-three-quarters hours and with a protracted climax that eradicates any goodwill established in the fastidious first couple of reels.
    • 46 Metascore
    • 30 Todd McCarthy
    Feels like a film from several years ago, one of the many made in the wake of "Pulp Fiction" that tried and failed to be as clever as its progenitor.
    • 46 Metascore
    • 40 Todd McCarthy
    Essentially approaches its subject seriously, but does take stabs both at horror and grotesque comedy, neither with much success.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 20 Todd McCarthy
    Shrill, strenuous and entirely without charm, Ron Howard's attempt at a Christmas classic is an elaborately wrapped empty box that will fool many people into buying it but will not greatly please its recipients.
    • 46 Metascore
    • 70 Todd McCarthy
    Tartly written and vividly performed by a fine ensemble cast, Gary Fleder's bracingly entertaining first feature covers familiar ground in a fresh, breezy way.
    • 46 Metascore
    • 60 Todd McCarthy
    Replete with smart, capable characters and crimes so bizarre that they lend the film a suspiciously lurid nature, this tony suspenser is hampered by the presence of a villain who is all too obvious from the very beginning.
    • 46 Metascore
    • 70 Todd McCarthy
    Pumping high-performance gas back into the series after a second lap sputter, third entry stays in high gear most of the way with several exhilarating racing sequences, and benefits greatly from the evocative Japanese setting.
    • 46 Metascore
    • 60 Todd McCarthy
    The opposition of the two dramas winds up in gratifyingly moral and philosophical territory.
    • 46 Metascore
    • 30 Todd McCarthy
    Begins as though the filmmakers imagine that they're making a daringly anti-p.c. serio-comedy, but long before it's over, the picture is wearing its bleeding liberal heart all over its sleeve.
    • 46 Metascore
    • 50 Todd McCarthy
    Writers and directors Richard Glatzer and Wash Westmoreland have crafted a solid script... Holding the enterprise back, however, is a terribly restrained directorial approach and academic visual style that prevent the lubricious story from truly coming to life.
    • 45 Metascore
    • 20 Todd McCarthy
    The story is told in a hammer-on-anvil manner that evinces no gift for social satire or sharp cultural insight.
    • 45 Metascore
    • 50 Todd McCarthy
    Whereas Peckinpah managed not only to raise hackles but to get under the skin, Lurie manages only the former, which reduces the material to the level of sensation-mongering.
    • 45 Metascore
    • 40 Todd McCarthy
    A disappointingly routine thriller that prefers to lean on tired Hollywood conventions rather than to explore fresh dramatic and stylistic territory.
    • 45 Metascore
    • 50 Todd McCarthy
    In the end, given how little goes on in Breaking Dawn - Part 1 despite the major plot points, what you're left with is to gaze at the three leads, all of whom have their constituencies and reasons for being eminently watchable. The only hope is they'll have more to do next time around.
    • 45 Metascore
    • 60 Todd McCarthy
    Mildly engaging but very far from being for 50 Cent what "8 Mile" was for Eminem, this lurchingly structured story of survival against the odds looks to get off to a strong start thanks to the singer's large following.
    • 45 Metascore
    • 80 Todd McCarthy
    In the spirit of the venture, the entire cast gets down and comes off all the better for it. Both Efron and McConaughey get very messed up physically, and both actors seem stimulated to be playing such flawed characters.
    • 45 Metascore
    • 40 Todd McCarthy
    Without the pleasure of watching Cate Blanchett continue the role that launched her to stardom, there would be little to recommend this latest of many cinematic and television accounts of the celebrated monarch's life.
    • 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.
    • 45 Metascore
    • 40 Todd McCarthy
    Revives the format but not the fun of classic Hollywood screwball comedies about rediscovering the virtues of a former mate.
    • 45 Metascore
    • 60 Todd McCarthy
    This decorous look at the great man's five years as ambassador to France in the period leading up to the French Revolution touches upon much significant history, incident and emotion but, ironically, lacks the intrigue and drama of great fiction.
    • 45 Metascore
    • 30 Todd McCarthy
    The ‘70s recreation is reasonable -- there are plenty of vintage cars and pop tunes of the moment -- but the characters never register beyond the surfaces of the scenes despite being equipped with long-festering resentments and grudges.
    • 45 Metascore
    • 50 Todd McCarthy
    The slapstick and action comedy interludes are haphazardly executed at best, and matters aren't helped by the film's incredibly ugly look.
    • 45 Metascore
    • 20 Todd McCarthy
    A series that's provided a successful, moderately enjoyable ride up to now blows its tires, gasket and transmission on its way to flaming out in Fast & Furious.
    • 45 Metascore
    • 70 Todd McCarthy
    The picture has vitality, a fine cast and excellent craft
    • 45 Metascore
    • 70 Todd McCarthy
    Mostow's smart speculative suspenser imagines a time when people can live through ideal versions of themselves while they sit wired up at home.
    • 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.
    • 45 Metascore
    • 40 Todd McCarthy
    A Steve Martin vehicle that's not prankish or weird enough by half.
    • 45 Metascore
    • 30 Todd McCarthy
    Arid, self-consciously arty and emotionally uninvolving.
    • 45 Metascore
    • 40 Todd McCarthy
    The problem with the script by Susser and David Michod, working from a story by Brian Charles Frank, is that Hesher's uncouth behavior is so aggressively pushed to single-minded, crudely exploitative effect.
    • 45 Metascore
    • 20 Todd McCarthy
    Director Jon Turteltaub's insistence upon hammering every point home with giant closeups and relentless musical underlining makes this insufferably cloying and sickly sweet.
    • 45 Metascore
    • 40 Todd McCarthy
    Half formulaic and half simply unimaginative.
    • 45 Metascore
    • 50 Todd McCarthy
    A broad and obvious approach to ambiguous material that's virtually all plot mechanics with little nuance or characterization.
    • 45 Metascore
    • 60 Todd McCarthy
    Despite an effectively low-key performance by Billy Bob Thornton in the leading role, pic is no more spiritually insightful or illuminating than Sunday School instructional story, and a lot less dramatically coherent.
    • 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.
    • 44 Metascore
    • 60 Todd McCarthy
    Reserved, careful and largely predictable in the way it plays out its wrenching emotional crises.
    • 44 Metascore
    • 40 Todd McCarthy
    It's a very academic movie about academics that belongs in academia, not movie theaters.
    • 44 Metascore
    • 40 Todd McCarthy
    A miscast James Franco and a lack of charm and humor doom Sam Raimi's prequel to the 1939 Hollywood classic. Oz the Wimpy and Weak would be more like it.
    • 44 Metascore
    • 50 Todd McCarthy
    Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.
    • 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
    • 30 Todd McCarthy
    Another tale of out-of-it working-class men cooking up a harebrained scheme to improve their lot in life.
    • 44 Metascore
    • 70 Todd McCarthy
    It's close to a no-win situation dramatically, culturally and politically, and Kaplan deals with it plausibly enough by concentrating on the performances and the interior conflicts they reveal.
    • 44 Metascore
    • 50 Todd McCarthy
    Valerie Breiman’s exceedingly slick feature is one of those cutesy items in which the characters talk about nothing but relationships and themselves.
    • 44 Metascore
    • 30 Todd McCarthy
    Just compare their superficiality to the complex characters in "From Here to Eternity" and what's missing here becomes terribly clear.
    • 44 Metascore
    • 30 Todd McCarthy
    An aggravating romance that runs only 78 minutes but ends not a moment too soon.
    • 44 Metascore
    • 20 Todd McCarthy
    Some of the filmmaker's keen intelligence remains on display, but only in fractured and often obscure form, and pic overall gives the impression of a giant expurgation of negative feelings about things in general rather than a carefully articulated brief on recognizable subjects.
    • 44 Metascore
    • 70 Todd McCarthy
    With the help of his stunt and special effects teams, Harlin delivers more than enough goods to satisfy genre fans, so main question is whether a female action hero, and Davis in particular, is ready to be embraced by the huge public the film is clearly targeting.
    • 44 Metascore
    • 40 Todd McCarthy
    Clever enough to provoke a few abrupt laughs along the way, this big screen debut for two television stalwarts, director Matt Shakman (It’s Always Sunny in Philadelphia) and writer Robert Patino (Sons of Anarchy, Prime Suspect), is sabotaged by some frightfully on-the-nose expository dialogue and an adamantly prosaic visual style.
    • 44 Metascore
    • 40 Todd McCarthy
    A well-upholstered but hopelessly contrived romantic comedy, Picture Perfect is too ineffectual to tickle either the funnybone or the heartstrings.
    • 44 Metascore
    • 40 Todd McCarthy
    Director Rawson Marshall Thurber adequately manages the mechanics demanded here but adds no finesse or grace notes.
    • 44 Metascore
    • 50 Todd McCarthy
    Half-intriguing, half-tedious.
    • 44 Metascore
    • 60 Todd McCarthy
    A heaping serving of metaphysical gobbledygook wrapped in a physically striking package.
    • 44 Metascore
    • 70 Todd McCarthy
    You laugh in spite of yourself in This Is Where I Leave You, a potty-mouthed comedy with enough exasperation, aggravations, long-standing grievances and get-me-outta-here moments of family stress to strike a chord with anyone who’s ever had to endure large clan gatherings that might have lasted a bit too long.
    • 44 Metascore
    • 30 Todd McCarthy
    Rarely has a picture been so self-consciously designed to be a culturally meaningful touchstone, and fallen so woefully short, as Southland Tales.
    • 44 Metascore
    • 40 Todd McCarthy
    Impeccably crafted but dramatically dull.
    • 44 Metascore
    • 70 Todd McCarthy
    This muscular thriller--led by Jason Statham, Clive Owen and Robert De Niro--strives to be a genuinely good film, but unwilling to let go of proven formulas, it falls short.
    • 43 Metascore
    • 60 Todd McCarthy
    An intensely whimsical shaggy-dog crime story that ricochets between goofy violence and some endearing personal moments.
    • 43 Metascore
    • 50 Todd McCarthy
    Such heart-tuggers have their appeal to some people in any era, but earnest hokum of this nature has become increasingly rare. And for a reason.
    • 43 Metascore
    • 50 Todd McCarthy
    Visually resplendent but dramatically uneven.
    • 43 Metascore
    • 60 Todd McCarthy
    A disappointingly pedestrian prison meller that falls between stools artistically and politically.
    • 43 Metascore
    • 40 Todd McCarthy
    The constant repetition of these shock tactics, in lieu of genuine suspense, makes The Wolfman feel cheap, despite the vast amounts obviously spent on Rick Heinrichs' opulent production design, the extensive visual effects, the more-than-effective special makeup effects, Milena Canonero's luxurious costumes, Danny Elfman's insistent score and the tony cast.
    • 43 Metascore
    • 30 Todd McCarthy
    An uncommonly dour and even grim action thriller that globetrots as diversely as a James Bond film but offers a very limited view politically, emotionally and dramatically.
    • 43 Metascore
    • 50 Todd McCarthy
    Has absolutely nothing to say about its characters and their lamentable actions.
    • 43 Metascore
    • 40 Todd McCarthy
    Even as she is the center of attention here in a double role, the jury is still out on Gomez's bigscreen potential; she's not very appealing or magnetic here, nor does she display any particular comic gifts for this sort of broad fare.
    • 43 Metascore
    • 50 Todd McCarthy
    Physicality of the second half, then, will keep the audience going, but it is not quite sufficient to camouflage the elemental silliness of storyline.
    • 43 Metascore
    • 40 Todd McCarthy
    With "Shampoo" and "American Gigolo" now distant memories, the time evidently seemed ripe for another Hollywood stud movie. Despite Ashton Kutcher’s believability as an older woman’s kept boy, Spread isn’t a patch on those previous films.
    • 43 Metascore
    • 50 Todd McCarthy
    What might have been an effective fantasy if handled with sophistication and insouciance is instead weighed down by ponderous pacing, overstuffed production values and an instance of miscasting.
    • 43 Metascore
    • 30 Todd McCarthy
    This butterfly just doesn't fly. Icy, surprisingly conventional and never truly convincing.
    • 43 Metascore
    • 20 Todd McCarthy
    Animation is dull and characterless, and vocal talent has evidently received blanket direction to, when in doubt, shout.
    • 43 Metascore
    • 50 Todd McCarthy
    Shows the sort of edge in places that will be appreciated by horror fanboys of all ages, but is mostly too overwrought and over-the-top.
    • 42 Metascore
    • 40 Todd McCarthy
    Jackson undermines solid work from a good cast with show-offy celestial evocations that severely disrupt the emotional connections with the characters.
    • 42 Metascore
    • 40 Todd McCarthy
    Breaks down when it gets to the distant future, which in this case isn't a good place to be stranded.
    • 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.

Top Trailers