Todd McCarthy

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For 1,543 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 Saving Private Ryan
Lowest review score: 0 Being Human
Score distribution:
1543 movie reviews
    • 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
    • 40 Todd McCarthy
    The puzzle of how the various personal and narrative pieces will eventually fit together exerts a smidgen of interest, but the characters are so dour and un-dimensional as to invite no curiosity about them.
    • 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
    • 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.
    • 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
    • 40 Todd McCarthy
    Over-produced and under-thought-out, this unconscionably elaborate attempt at an old-fashioned Gothic thriller looks great but is beyond silly.
    • 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
    • 40 Todd McCarthy
    By-the-numbers plotting, seen-it-all-before action moves, banal locations and a largely anonymous cast alongside the star give this a low-rent feel.
    • 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.
    • 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
    • 80 Todd McCarthy
    The Legend of Tarzan isn't half-bad; actually, it's pretty good. Beautifully made and smartly set at the beginning of Belgian King Leopold II's rapacious colonization of the Congo in the 1880s, this is certainly the best live-action Tarzan film in many a decade (which, admittedly, isn't saying much) and offers a well-judged balance of vigorous action and engaging-enough drama.
    • 44 Metascore
    • 40 Todd McCarthy
    There's no catharsis at the end from the journey taken, just relief that it's over.
    • 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
    • 40 Todd McCarthy
    The villain here, Jesse Eisenberg's Lex Luthor, is so intensely annoying that, very early on, you wish Batman and Superman would just patch up their differences and join forces to put the squirrely rascal out of his, and our, misery.
    • 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
    • 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
    • 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
    Ewan McGregor’s directorial debut, in which he also stars, is decently performed and delivers some potent scenes of inter-generational discord between a concerned father and a radicalized daughter who becomes a murderous terrorist. But the filmmaking is prosaic when it should crackle with tension and disruptive undercurrents,
    • 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.
    • 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.
    • 42 Metascore
    • 40 Todd McCarthy
    Bloody but anemic story.
    • 42 Metascore
    • 50 Todd McCarthy
    Columbus' approach is intended to cloak such topics as mortality and human identity in the warm glow of greeting card sentiment, which renders the prescription palatable for mass consumption but hopelessly diluted.
    • 42 Metascore
    • 20 Todd McCarthy
    A staggeringly misguided stab at making the past come alive by people who have absolutely no feel for period filmmaking. Banal at best and laughable at worst.
    • 42 Metascore
    • 60 Todd McCarthy
    A feel-good film about death, a sitcom about mortality, "Ikiru" for meatheads. It's also a picture about two cancer patients confronting reality, and deciding how they want to spend their presumed last days, that has not an ounce of reality about it.
    • 42 Metascore
    • 20 Todd McCarthy
    Much of the confusion, as well as the lack of dramatic rhythm or character development, results directly from Bay's cutting style, which resembles a machine gun stuck in the firing position for 2 and a half hours.
    • 42 Metascore
    • 70 Todd McCarthy
    A pretty skillfully handled domestic thriller about a criminal activity that, while always upsetting, is especially noxious now due to the too many recent tragic and highly publicized instances of it.
    • 42 Metascore
    • 50 Todd McCarthy
    Takes itself so seriously that it never has fun with its shopworn genre elements.
    • 42 Metascore
    • 40 Todd McCarthy
    The visuals are undeniably dreamy, but they mostly seem borrowed from other filmmakers’ dreams.
    • 42 Metascore
    • 40 Todd McCarthy
    Teasingly enjoyable rubbish through the first hour, Orphan becomes genuine trash during its protracted second half.
    • 42 Metascore
    • 30 Todd McCarthy
    A dreadfully dull, completely conventional story of a young wife's recuperation from being unceremoniously dumped, this is a by-the-numbers bit of emotional calculation without a single fresh, original or offbeat move in its system, apart from a nifty opening sequence.
    • 41 Metascore
    • 40 Todd McCarthy
    The spectacle of Kenneth Branagh and Judy Davis doing over-the-top Woody Allen impersonations creates a neurotic energy meltdown in Celebrity, a once-over-lightly rehash of mostly stale Allen themes and motifs.
    • 41 Metascore
    • 40 Todd McCarthy
    Seems bent on creating equal-opportunity offense to many groups, but more often than not is appalling simply for its silliness and lack of comedic control.
    • 41 Metascore
    • 60 Todd McCarthy
    Genre fans always looking for something new and awesome may feel like they've seen most of this before, but the conceptual and emotional strength of Summit's Nicolas Cage starrer largely carries the day.
    • 41 Metascore
    • 70 Todd McCarthy
    So fetishistic about high-powered weapons that it qualifies as an NRA wet dream, G.I. Joe: Retaliation pretty accurately reflects the franchise's comic book and cartoon origins, which is both a good and a bad thing: good if you're a 12- to 15-year-old boy, bad if you're just about anyone else.
    • 41 Metascore
    • 50 Todd McCarthy
    It feels much more like a shameless reshuffle of "The Princess Diaries."
    • 41 Metascore
    • 50 Todd McCarthy
    Te laughs "Fockers" generates are the type you feel embarrassed about almost immediately afterward.
    • 41 Metascore
    • 60 Todd McCarthy
    Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.
    • 41 Metascore
    • 40 Todd McCarthy
    An ultra-arty "The Sixth Sense" that deliberately inhibits comprehension of the story until the very end -- and arguably continues to inhibit it even then -- pic features certifiably talented people on both sides of the camera collaborating on a project that probably shouldn't have been undertaken in the first place.
    • 41 Metascore
    • 40 Todd McCarthy
    Instead, director Jon Turteltaub has taken the easiest road, emerging with a soppy, soft-headed disease-of-the-week-style piece that sentimentalizes or opts out of every interesting issue the script raises.
    • 41 Metascore
    • 60 Todd McCarthy
    Outrageously grungy and whacked-out walk on the wild side.
    • 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.
    • 41 Metascore
    • 40 Todd McCarthy
    Worst of all, it just feels tired and recycled.
    • 41 Metascore
    • 50 Todd McCarthy
    Good for a few lascivious titters but quite lacking in the sort of comic bite and social satire one hopes for in the work of Mike Nichols.
    • 41 Metascore
    • 30 Todd McCarthy
    An exercise in improv-derived filmmaking that simply proves once again that there's no substitute for a good script.
    • 41 Metascore
    • 20 Todd McCarthy
    Johnny Depp's impersonation of the Thompson figure is effective up to a point, but it's hard to imagine any segment of the public embracing this off-putting, unrewarding slog through the depths of the drug culture.
    • 41 Metascore
    • 60 Todd McCarthy
    Crucially, the teaming of standup favorite and "Martin" star Lawrence and "Fresh Prince" Smith clicks from the outset, with both right at home handling action and comedy on the bigscreen. Even when it's not particularly funny, their interplay is engaging, and their lively, raucous personalities keep the proceedings punchy and watchable for the slightly overlong running time.
    • 41 Metascore
    • 40 Todd McCarthy
    Oddly misanthropic, occasionally amusing but thoroughly cheerless holiday attraction that is in no way a family film.
    • 41 Metascore
    • 30 Todd McCarthy
    With unappealing one-note characters, retread concepts and implausible motivations, Chappie is a further downward step for director Neill Blomkamp.
    • 41 Metascore
    • 50 Todd McCarthy
    The older the actors here the better they are, as pros like Paul Giamatti and Damian Lewis have it all over low-voltage young leads Douglas Booth and Hailee Steinfeld. Relativity will be lucky to milk anything more than a moderate take from this pretty but unexciting enactment.
    • 40 Metascore
    • 40 Todd McCarthy
    Our Day Will Come speeds along for a while on the fumes of its own audacity until it can no longer hide the lack of coherent ideas in the tank.
    • 40 Metascore
    • 90 Todd McCarthy
    A markedly better picture than Roberto Benigni's far more sentimental Oscar collector.
    • 40 Metascore
    • 50 Todd McCarthy
    Routine, superficial manhunt stuff.
    • 40 Metascore
    • 60 Todd McCarthy
    Made up of synthetics rather than whole cloth, this lurid concoction superficially gets by thanks to a strong cast and jazzy period detail, but its cartoonish contrivances fail to convince and lack any of the depth, feeling or atmosphere of genre stand-bearers like "L.A. Confidential."
    • 40 Metascore
    • 70 Todd McCarthy
    A consistently amusing action romp.
    • 40 Metascore
    • 40 Todd McCarthy
    A picture too simplistic and sentimental for art seekers and too rough for general audiences.
    • 40 Metascore
    • 40 Todd McCarthy
    A puzzlingly confused undertaking that never becomes as cool as it thinks it is, Suicide Squad assembles an all-star team of supervillains and then doesn’t know what to do with them.
    • 40 Metascore
    • 50 Todd McCarthy
    The modestly scaled film delivers some moving and affecting moments amid a preponderance of scenes of frequently annoying people behaving badly.
    • 40 Metascore
    • 50 Todd McCarthy
    The season's first comet-targets-Earth special effects extravaganza is spectacular enough in its cataclysmic scenes of the planet being devastated by an unstoppable fireball, but proves far from thrilling in the down time spent with a largely dull assortment of troubled human beings.
    • 40 Metascore
    • 70 Todd McCarthy
    An unusual film that intelligently avoids numerous potential pitfalls even if its central earnestness is ultimately inescapable.
    • 40 Metascore
    • 40 Todd McCarthy
    Even with all its familiar action tropes, less-than-fresh special effects and loopy plotting, the most depressing element in the Wachowski siblings' latest sci-fi mash is that, as they conceive it, human society has been around for more than a billion years but is still presided over by a rivalrous British-style royal family that treacherously behaves as if it were the 1550s.
    • 40 Metascore
    • 30 Todd McCarthy
    Homefront is sufficiently silly and low-down to be entertaining on a certain marginal level, but it wouldn't appear that those involved, with the possible exception of Franco, approached this with the idea that they might be making good trash; it looks too elaborate and costly for that and the script exhibits no self-aware humor.
    • 40 Metascore
    • 40 Todd McCarthy
    This botched remake of "The Day the Earth Stood Still" seriously dishonors the seriously fine 1951 sci-fi landmark on which it's based.
    • 40 Metascore
    • 50 Todd McCarthy
    Lack of much substance or dramatic payoff makes the whole significantly less than sum of its parts.
    • 39 Metascore
    • 70 Todd McCarthy
    Serves up all the requisite elements with enough self-deprecating humor to suggest it doesn't take itself too seriously.
    • 39 Metascore
    • 60 Todd McCarthy
    There are certainly good laughs to be had. But the contrived script and bland direction prevent the film from ever developing a comic life of its own, leaving what fun there is seeming like the foundation to a rumpus room that's never finished.
    • 39 Metascore
    • 20 Todd McCarthy
    Silk is a snooze. Vacuous, arid and terminally dull, this adaptation of Alessandro Baricco's freak bestseller hasn't a trace of real life or energy to it, and is hamstrung by a lethargic lead performance by Michael Pitt.
    • 39 Metascore
    • 40 Todd McCarthy
    Scarcely more amusing than spending 90 minutes in a pre-K classroom.
    • 39 Metascore
    • 80 Todd McCarthy
    The central idea is quite clever and appealing, and that the charm meter is turned up all the way.
    • 39 Metascore
    • 40 Todd McCarthy
    A female solidarity adultery comedy that's three parts embarrassing farce to one part genuinely comic discharge.
    • 39 Metascore
    • 30 Todd McCarthy
    Wallow in Hollywood hipster self-absorption.
    • 39 Metascore
    • 10 Todd McCarthy
    Dreary, lachrymose and incredibly poky tear-jerker that makes its audience wait and wait and wait until nearly the last second for its jerking.
    • 39 Metascore
    • 50 Todd McCarthy
    At best an honorable failure, an intelligent and ambitious picture that crucially lacks dramatic flair and emotional involvement.
    • 39 Metascore
    • 30 Todd McCarthy
    It’s a waste of a good cast as well as a serious trip-wire for McCarthy, who may know what’s best for her talents but, on the evidence, needs a deft-handed outsider to make sure she’s maximizing them.
    • 39 Metascore
    • 20 Todd McCarthy
    Viewers who sit through Exit Wounds should at least do themselves the favor of staying for the end credits, which feature some truly funny off-color banter between Anderson and Arnold on the latter's ostensible talkshow.
    • 39 Metascore
    • 40 Todd McCarthy
    There's nothing funny, provocative or involving about what "Shrek" co-writer Joe Stillman and the team from Madrid-based Ilion Animation Studios do with the notion here.
    • 39 Metascore
    • 30 Todd McCarthy
    Embalming the simple and simplistic yarn in an amber glow that is all but suffocating and banishing from it any traces of humor and spontaneity, director Scott Hicks serves up this treacly tale with absolutely no trace of self-consciousness about the material's cliches or simple-mindedness.
    • 38 Metascore
    • 50 Todd McCarthy
    As impressive as the industrial-style special effects may be, they're both too much and not enough for this mild mild West.
    • 38 Metascore
    • 50 Todd McCarthy
    While After the Sunset is never exactly dull and is smartly cut to a brief running time, it never quickens the pulse.
    • 38 Metascore
    • 60 Todd McCarthy
    After lightly going through the motions of a plot, it all ends up in the quarry, where assorted machinery provides the excuse for a parade of slapstick gags and amusement park-like predicaments that seem mostly lumbering.
    • 38 Metascore
    • 80 Todd McCarthy
    A somber, absorbing thriller that treads familiar psycho serial killer terrain with style. Elegantly made and comparatively restrained in cramming sick and grisly stuff down the audience's throat.
    • 38 Metascore
    • 50 Todd McCarthy
    The Old West is portrayed as a venal loony bin in Sweetwater, a handsomely designed, occasionally funny but ultimately empty female vengeance yarn.
    • 38 Metascore
    • 30 Todd McCarthy
    Action scenes are accumulated as if mandated by a stop-watch and almost invariably seem like warmed-over versions of stuff we've seen before, in Terminator entries and elsewhere.
    • 38 Metascore
    • 50 Todd McCarthy
    The feel of a direct-to-video title that's been upgraded to theatrical status in the hopes of wringing a few extra bucks out of it and improving its not-too-distant homevid marketability.
    • 38 Metascore
    • 40 Todd McCarthy
    As overblown as it is overlong, Bad Boys II is an enervating case of more is less.
    • 38 Metascore
    • 50 Todd McCarthy
    As a young lady who can't say no to a beautiful dress or accessory, Isla Fisher is not to be denied, and her irrepressible comic personality overcomes a number of the film's impediments.
    • 38 Metascore
    • 40 Todd McCarthy
    The comedy just isn't that funny and the enterprise never finds an exact tone.
    • 38 Metascore
    • 30 Todd McCarthy
    Screechily abrasive and sorely lacking in elements that engage the imagination.
    • 38 Metascore
    • 50 Todd McCarthy
    Pushes its dark, smart, clever, cynical, satirical, nasty, provocative and sarcastic instincts to the point of heavily diminished returns -- to the point where the very amusing premise just isn't funny anymore.
    • 38 Metascore
    • 70 Todd McCarthy
    Generates tension from the get-go, albeit of an increasingly unpleasant variety, on its way to a disappointingly generic climax.
    • 38 Metascore
    • 60 Todd McCarthy
    While this John Singleton-directed sequel provides a breezy enough joyride, it lacks the unassuming freshness and appealing neighborhood feel of the economy-priced original.
    • 38 Metascore
    • 80 Todd McCarthy
    Jason Reitman's new film skillfully navigates through the personal melodramas of many characters with a nice sense of balance and a sharp appreciation of generational differences.
    • 38 Metascore
    • 30 Todd McCarthy
    The way the picture dwells almost exclusively on cinematically exploitable elements -- gangbanger crime, prostitution, honor killing, terrorism paranoia -- gives it a sordid patina that even the classy, able thesps can't offset.
    • 38 Metascore
    • 30 Todd McCarthy
    Misguided, diminished and dismally done in every way, this late-summer afterthought will richly earn the distinction of becoming the first Ben-Hur in any form to flop.
    • 38 Metascore
    • 50 Todd McCarthy
    The picture is stronger the closer it sticks to the streets and raw emotions and the more it avoids routine dramatic crutches and forced comedy.
    • 38 Metascore
    • 40 Todd McCarthy
    An ideal rainy day matinee attraction for well-to-do ladies of a certain age.
    • 37 Metascore
    • 30 Todd McCarthy
    With a far-fetched script that might barely have passed muster at the B units in the old studio days, this Dimension release will command a certain up-front attention due to cast topliners.
    • 37 Metascore
    • 10 Todd McCarthy
    A minnow of a movie. A drear moment in the careers of all concerned.
    • 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.
    • 37 Metascore
    • 20 Todd McCarthy
    Staggeringly misjudged in virtually every department, from the wannabe effervescent script to Johnny Depp's dopey hairdo.
    • 37 Metascore
    • 40 Todd McCarthy
    This is a relentlessly mechanical piece of work that will not or cannot take the imaginative leaps to yield even fleeting moments of awe, wonder or charm.
    • 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.
    • 37 Metascore
    • 70 Todd McCarthy
    Duvall can play an avuncular cowboy sage in his sleep, but there's truly no one on Earth you'd rather see dishing out homespun aphorisms, so it's pointless to resist the pleasure of watching him do what he can do better than anyone else. Baker and Melissa Leo, as the waitress' mom, are not asked to exhibit a fraction of their talent, but they further class the joint up.
    • 37 Metascore
    • 20 Todd McCarthy
    This is a sloppy stew in which the ingredients of battle action, murder mystery, little-kid sentiment and history lesson don't mix well.
    • 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.
    • 37 Metascore
    • 30 Todd McCarthy
    Arriving eight years after the lame third installment in Dimension's profitable series, this seems like far too little way too late.
    • 37 Metascore
    • 50 Todd McCarthy
    The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time.
    • 37 Metascore
    • 40 Todd McCarthy
    Overstuffed and fatally miscast, All the King's Men never comes to life.
    • 37 Metascore
    • 30 Todd McCarthy
    The novelty value is completely gone the second time around.
    • 37 Metascore
    • 40 Todd McCarthy
    The deadening and sometimes laughable litany of shouted military-style dialogue eventually pummels into submission any hope for fresh creative angles on this well-worn format.
    • 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.
    • 37 Metascore
    • 40 Todd McCarthy
    The leading man aside, a fine cast is thoroughly wasted in a tale that centers on old-fashioned Cold War-style conflict rather than the sort of terrorist drama that's more pertinent today.
    • 37 Metascore
    • 70 Todd McCarthy
    Aimed squarely at family audiences, the Wachowski Brothers' return behind the camera for the first time since the "Matrix" trilogy is a blur of video action painting and very loud sounds notable solely for its technical wizardry. In every other respect, it's pure cotton candy -- entirely non-nutritious but too sweet and pretty for young people to resist.
    • 37 Metascore
    • 50 Todd McCarthy
    As easy on the eyes and ears as it is embalmed from any dramatic point of view.
    • 36 Metascore
    • 20 Todd McCarthy
    An endlessly sentimental fable about sacrifice and redemption that aims only at the heart at the expense of the head. Intricately constructed so as to infuriate anyone predominantly guided by rationality and intellect.
    • 36 Metascore
    • 60 Todd McCarthy
    Callahan mostly overcomes its grungy technical quality with entertaining dialogue, nervy confrontation scenes, decent thesping and some truly spectacular shooting on the green velvet.
    • 36 Metascore
    • 30 Todd McCarthy
    Passably interesting psychological study of emotionally wounded characters until it commits dramatic suicide by showing its true colors as a tricked-up "Fatal Attraction" wannabe.
    • 36 Metascore
    • 30 Todd McCarthy
    Far from the renegade, boundary-pushing, sexually explicit sensation that its makers have been suggesting, The Canyons is a lame, one-dimensional and ultimately dreary look at peripheral Hollywood types not worth anyone's time either onscreen or in real life.
    • 36 Metascore
    • 50 Todd McCarthy
    A waterlogged would-be thriller deep-sixed by its misguided notion of high concept. [12 January 1998, p. 63]
    • Variety
    • 36 Metascore
    • 90 Todd McCarthy
    With its strong premise, a couple of fine performances and highly polished tooling, The Jackal scores as an involving high-tech thriller that occasionally hits peaks of pulsating excitement.
    • 36 Metascore
    • 30 Todd McCarthy
    Sex Tape is sexcruciating.
    • 36 Metascore
    • 30 Todd McCarthy
    Pan
    What fun there is falls to Jackman, who gives the grand old man of pirate characters plenty of fresh and unusual wrinkles and emerges better than the others simply by virtue of playing a two-dimensional, rather than one-dimensional, figure.
    • 36 Metascore
    • 50 Todd McCarthy
    Created as a comic vehicle for the lead actor, pic depends entirely too much on Wayans to carry the day, but at this point he is far more eager and willing than he is funny.
    • 36 Metascore
    • 30 Todd McCarthy
    What's actually up onscreen in this vaguely ambitious but tawdry melodrama falls into an in-between no-man's-land that endows it with no distinction whatsoever, a work lacking both style and insight into the netherworld it seeks to reveal.
    • 36 Metascore
    • 60 Todd McCarthy
    Serves up enough goofy pranks and fractured wordplay to keep the series purring along.
    • 36 Metascore
    • 40 Todd McCarthy
    Satisfying neither as character study nor as straight-ahead actioner.
    • 35 Metascore
    • 30 Todd McCarthy
    Cleverly titled but noxious British comedy.
    • 35 Metascore
    • 30 Todd McCarthy
    This is one of those high-concept pictures with a big windup and weak delivery.
    • 35 Metascore
    • 50 Todd McCarthy
    This isn't the Star Wars we've always known and at least sometimes loved.
    • 35 Metascore
    • 40 Todd McCarthy
    An empty shell.
    • 35 Metascore
    • 50 Todd McCarthy
    There's something about novelist Stephenie Meyer that induces formerly interesting directors to suddenly make films that are slow, silly and soporific.
    • 35 Metascore
    • 60 Todd McCarthy
    The sense of evil overkill is entirely representative of the picture itself, which repeatedly looks ready to blow all its fuses due to sensory overload.
    • 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.
    • 35 Metascore
    • 50 Todd McCarthy
    A pale reworking of its predecessor.
    • 35 Metascore
    • 10 Todd McCarthy
    A Eurotrashy vidgame knockoff that misses its target by a mile. Numbingly unthrilling as it lurches from one violent encounter to another, the pic's dark roots in an electronic, non-dramatic medium are plain to see, and unsuspecting gamers lured to theaters will soon wish they were back home participating in the action themselves.
    • 34 Metascore
    • 20 Todd McCarthy
    As dull and arid as a hike through the desert.
    • 34 Metascore
    • 20 Todd McCarthy
    In outer space, no one can hear you scream -- of boredom.
    • 34 Metascore
    • 50 Todd McCarthy
    Mostly clunky and vaguely unsavory.
    • 34 Metascore
    • 40 Todd McCarthy
    A thriller more contrived than it is exciting.
    • 34 Metascore
    • 30 Todd McCarthy
    Once the revisionist frisson of a black Jesus, not to mention Mary, Joseph and Judas, has worn off, one is stuck with more mundane matters such as story dynamics, visual style and character verisimilitude, much to the misfortune of the audience.
    • 34 Metascore
    • 30 Todd McCarthy
    Speak a great deal, but they don't have much to say. A dull ensembler.
    • 34 Metascore
    • 70 Todd McCarthy
    The teasing tale is told with such dispatch it will carry willing audiences along; genre staples of action, macho attitude and corruption through the ranks are delivered intact.
    • 34 Metascore
    • 20 Todd McCarthy
    Spawn is a moodily malevolent, anything-goes revenge fantasy that relies more upon special visual and digitally animated effects for its intended appeal than any comics-derived sci-fier to date.
    • 34 Metascore
    • 40 Todd McCarthy
    Conventional where it should be bold and mild where it should be wild, 10,000 BC reps a missed opportunity to present an imaginative vision of a prehistoric moment.
    • 34 Metascore
    • 50 Todd McCarthy
    As gooey and lacking in protein as a chocolate holiday bonbon, Valentine's Day plays like a feature-length commercial produced by the Friends of the Valentine Promotional Society.
    • 34 Metascore
    • 60 Todd McCarthy
    This paean to youthful irresponsibility applies the right crude and rude 'tude to its bulging sack of gags to have the desired effect on its target audience.
    • 34 Metascore
    • 40 Todd McCarthy
    A lot of talent on both sides of the camera operating in low gear.
    • 34 Metascore
    • 30 Todd McCarthy
    Nine very good actors are wasted, if not embarrassed, by the thoroughly unconvincing shenanigans perpetrated by first-time writer-director Michael Clancy, while a tenth -- Zooey Deschanel -- somehow manages to float ethereally above it all with her dignity intact.
    • 33 Metascore
    • 10 Todd McCarthy
    More than an embarrassment, it's an insult.
    • 33 Metascore
    • 30 Todd McCarthy
    Has the distinction of being a major motion picture that's far less imaginative, and quite a bit more stupid, than the interactive game it's based on.
    • 33 Metascore
    • 60 Todd McCarthy
    It's good to see Schwarzenegger doing his thing again after what, for him, was a long sabbatical.
    • 33 Metascore
    • 40 Todd McCarthy
    Lacks the antic energy and inspired imagination that might have put this over as a sharp-witted community comedy in the Preston Sturges vein.
    • 33 Metascore
    • 40 Todd McCarthy
    Certain to create a gaping divide between generational and aesthetic camps, Sucker Punch is a largely grim and unpleasant display of technical wizardry wrapped around a story that purports to be inspirational.
    • 33 Metascore
    • 70 Todd McCarthy
    The predicable, overlong romantic farce has enough sass and sex appeal to appease fans of stars Adam Sandler and Jennifer Aniston.
    • 33 Metascore
    • 30 Todd McCarthy
    Well made but unlikable and dramatically absurd picture.
    • 33 Metascore
    • 20 Todd McCarthy
    The sight and sound of Lawrence in fat-lady drag remains engaging throughout; script may often let him down, forcing him to keep things afloat almost single-handedly.
    • 33 Metascore
    • 0 Todd McCarthy
    Being Human never comes alive. This stillborn series of little fables is so flat and ill-conceived that it could convince the uninitiated that neither Robin Williams nor the highly idiosyncratic Scottish writer-director Bill Forsyth had any talent.
    • 33 Metascore
    • 30 Todd McCarthy
    This low-rent, R-rated "Rush Hour"-ish comic caper could have been several notches better with more charismatic leads and some dialogue upgrades but still would have felt like a genre hand-me-down.
    • 33 Metascore
    • 30 Todd McCarthy
    Just as the basic plot points are hard to swallow, even the most rudimentary aspects of the characters' interactions feel forced, artificial and unspontaneous.
    • 33 Metascore
    • 10 Todd McCarthy
    Dismally unfunny...It's clear from the first few minutes that the performers are fighting an uphill battle against lame material, and the situation never improves as pic labors on.
    • 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.
    • 32 Metascore
    • 30 Todd McCarthy
    The director doesn't display the spirit of a natural entertainer; while intellectual notions abound, he never grabs the audience by the hand to pull them into the tale emotionally.
    • 32 Metascore
    • 20 Todd McCarthy
    A very earthbound comic fantasy, a racially flip-flopped "Heaven Can Wait" redo stuck in a purgatory with just enough meager laughs to keep it from a more fiery fate.
    • 32 Metascore
    • 20 Todd McCarthy
    Evinces no interest in such niceties as credible dialogue, character motivation or forward momentum.
    • 32 Metascore
    • 30 Todd McCarthy
    Star-driven, high-minded claptrap that, fatally, can't even rig a rooting interest in its central love story.
    • 32 Metascore
    • 50 Todd McCarthy
    A half-absorbing, half-ridiculous techno-thriller that often goes too far in search of audience-rousing effects.
    • 32 Metascore
    • 20 Todd McCarthy
    May hold some appeal for Latino auds in the Southwest but will fold after a couple of rounds in the big arena.
    • 32 Metascore
    • 60 Todd McCarthy
    A desperately slight romantic comedy marked by contrived romance and little comedy.
    • 32 Metascore
    • 80 Todd McCarthy
    The somber tone and low-end production values may not be exactly in tune with young neo-noir enthusiasts, but more seasoned fans of the genre and the filmmaker will recognize and embrace Hill’s use of noir to play with and comment on topical issues in a deliciously subversive way, political correctness be damned.
    • 32 Metascore
    • 20 Todd McCarthy
    A romantic comedy as lamely generic as its title.
    • 32 Metascore
    • 30 Todd McCarthy
    A shrill, strained and shallow riff on a tired idea.
    • 31 Metascore
    • 20 Todd McCarthy
    Strictly a minor-league late fall entry.
    • 31 Metascore
    • 10 Todd McCarthy
    This perfectly dreadful romantic action comedy manages to embarrass its three eminently attractive leading players in every scene, making this an automatic candidate for whatever raspberries or golden turkeys or other dubious awards may be given in future for the films of 2012.
    • 31 Metascore
    • 10 Todd McCarthy
    Has the distinction of being one of the most amateurish features ever released by a major studio.
    • 31 Metascore
    • 30 Todd McCarthy
    An indigestible gumbo of Southern Gothic ingredients seasoned with snake oil, biblical hash and thoroughly unpalatable spice.
    • 31 Metascore
    • 30 Todd McCarthy
    Shrill, undermotivated, feature-length catfight.
    • 31 Metascore
    • 40 Todd McCarthy
    A deeply metaphysical film by contempo Hollywood standards, this middlebrow trifle may engage the emotions of a certain tier of young professional women.
    • 64 Metascore
    • 40 Todd McCarthy
    Except for the physical aspects of this bleak odyssey by a father and son through a post-apocalyptic landscape, this long-delayed production falls dispiritingly short on every front.
    • 31 Metascore
    • 30 Todd McCarthy
    A remarkably mirthless and inept romantic comedy.
    • 31 Metascore
    • 30 Todd McCarthy
    The film is essentially nothing but little and ineffectual bits of recycled shtick with no sense of freshness of invention. And the women never bond in even the most rote or superficial way that's expected in this sort of claptrap.
    • 31 Metascore
    • 20 Todd McCarthy
    Reheating the ingredients can't disguise how stale they are, as setpiece after setpiece strains to whip up excitement, only to fall flat while reminding of previous sequences that did such things ever so much better.
    • 31 Metascore
    • 30 Todd McCarthy
    Aspiring transcendent love stories don't come much more claptrappy and unconvincing than Winter's Tale.
    • 31 Metascore
    • 30 Todd McCarthy
    Blandness and lack of daring characterize nearly every minute of the very long two hours, which are marked by a high degree of professionalism at the service of little content.
    • 30 Metascore
    • 40 Todd McCarthy
    You almost feel sorry for Tyler Perry, stepping out of his own universe for the first time to try to expand his range and finding himself in something as thoroughly dismal as Alex Cross.
    • 30 Metascore
    • 40 Todd McCarthy
    If auds swallow this odoriferous exercise in calculated career repositioning, they'll swallow anything.
    • 30 Metascore
    • 60 Todd McCarthy
    Robinson's script is alive to the material's literary roots, although there is a sense that the brakes have been applied so as not to push into territory perceived as too esoteric for American teenagers.
    • 30 Metascore
    • 20 Todd McCarthy
    A shamelessly manipulative commercial on behalf of national health insurance.
    • 30 Metascore
    • 30 Todd McCarthy
    This overwrought and egregiously self-serious thriller about the poisonous fruit borne of child abuse grows more ridiculous by the quarter-hour and is poised for a theatrical life span scarcely longer than that of its eponymous insect.
    • 30 Metascore
    • 40 Todd McCarthy
    A highly homogenized and sanitized remake that's little better than its 1981 predecessor.
    • 30 Metascore
    • 20 Todd McCarthy
    Banal and trite where it could have been insightful and emotionally truthful, this Fox release is also notable for featuring the first disappointing performance by teen star Natalie Portman.

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