Todd McCarthy
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For 1,376 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 2.6 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Shame
Lowest review score: 0 Showgirls
Score distribution:
1,376 movie reviews
    • 74 Metascore
    • 50 Todd McCarthy
    Goes down like stiff medicine, leaving one feeling exhausted relief when it's finally over.
    • 61 Metascore
    • 50 Todd McCarthy
    Anthony and Joe Russo place too much faith in the ability of their talented thesps to carry the day over precariously thin material.
    • 56 Metascore
    • 50 Todd McCarthy
    Had the young Jack Nicholson played such a character during the height of the Vietnam War, it would have been easy to go along for the ride. But skilled as Phoenix is at pulling off the individual scenes of Elwood's shenanigans, the actor doesn't come across as embodying rebellion to the marrow of his bones, which renders his scams arbitrary and disagreeably irresponsible.
    • 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.
    • 85 Metascore
    • 50 Todd McCarthy
    Surprisingly lacks a feeling of personal urgency and insight that would have made it a distinctive, even unique contribution to the considerable number of films that deal with the war in general and Holocaust in particular.
    • 48 Metascore
    • 50 Todd McCarthy
    Earnest and well-intentioned.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Todd McCarthy
    The significant potential of its premise is squandered by an increasing reliance on teen movie cliches, silly plotting and the urge to be upbeat rather than to communicate life lessons.
    • 57 Metascore
    • 50 Todd McCarthy
    Taymor makes the action clear and easy to follow with her bold physicalization of the story and forceful direction of an astutely chosen cast.
    • 56 Metascore
    • 50 Todd McCarthy
    Sports some tasty scenes, mostly in the first half, but also pushes 007 into CGI-driven, quasi-sci-fi territory that feels like a betrayal of what the franchise has always been about.
    • 57 Metascore
    • 50 Todd McCarthy
    Comes across in muted fashion, with uninvolving characters and lack of genuine excitement or fright creating a second-rate, second-hand feel.
    • 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.
    • 66 Metascore
    • 50 Todd McCarthy
    What they have done is taken a few second-hand ideas from noir and speculative fiction and mixed them in occasionally striking ways, even if, in the end, the result isn't all that much fun.
    • 55 Metascore
    • 50 Todd McCarthy
    Can be taken to task for its overt point-making, lackluster style and some late-on dramatic contrivances seemingly dragged in to provide a little violence.
    • 43 Metascore
    • 50 Todd McCarthy
    Visually resplendent but dramatically uneven.
    • 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.
    • 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.
    • 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.
    • 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.
    • 40 Metascore
    • 50 Todd McCarthy
    Routine, superficial manhunt stuff.
    • 65 Metascore
    • 50 Todd McCarthy
    Despite its undeniably pure and earnest intent, Solaris is equally undeniably an arid, dull affair that imposes and maintains a huge distance between the viewer and what happens onscreen.
    • 41 Metascore
    • 50 Todd McCarthy
    It feels much more like a shameless reshuffle of "The Princess Diaries."
    • 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.
    • 42 Metascore
    • 50 Todd McCarthy
    Takes itself so seriously that it never has fun with its shopworn genre elements.
    • 57 Metascore
    • 50 Todd McCarthy
    Mismatched marriage of offbeat character study and unimaginative horror riffs. Most compelling element by far is Bruce Campbell's inspired performance as a nursing home patient who insists he is the real Elvis Presley.
    • 43 Metascore
    • 50 Todd McCarthy
    Has absolutely nothing to say about its characters and their lamentable actions.
    • 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.
    • 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.
    • 19 Metascore
    • 50 Todd McCarthy
    Attractively designed, energetically performed and, above all, blessedly concise, this adaptation of one of the most popular American kids' books of all time walks the safe side of surrealism with its fur-flying shenanigans. The younger the viewers, the better reactions are bound to be.
    • 55 Metascore
    • 50 Todd McCarthy
    As rich in period and historical background as it is deficient in fresh dramatic and thematic ideas.
    • 58 Metascore
    • 50 Todd McCarthy
    The imaginatively illustrated but precariously precious film offers up a string of minor pleasures but never becomes more than moderately amusing or involving.
    • 64 Metascore
    • 50 Todd McCarthy
    Handsome, respectable and well cast, elaborate production lacks the excitement and magic that would elevate the film to beloved status, and sheer abundance of CGI work weighs on it too heavily.
    • 59 Metascore
    • 50 Todd McCarthy
    A less raucous and more serious-minded neighborhood comedy than its entertaining predecessor.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Todd McCarthy
    Lacks the special creative spark needed to lift it to an uncommon imaginative level.
    • 55 Metascore
    • 50 Todd McCarthy
    Beautifully made production lacks the emotional depth and dramatic tension needed to command audience attention beyond the level of a talented curiosity.
    • 56 Metascore
    • 50 Todd McCarthy
    The souffle falls a little flat in The Ladykillers, a Coen brothers black comedy in which the humor seems arch and narrative momentum doesn't kick in until the final third.
    • 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
    • 59 Metascore
    • 50 Todd McCarthy
    The cutting-edge perfection of effects in Cameron and Spielberg films is replaced here by work that looks more homemade, particularly toward the end in some faintly cheesy composite shots.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Todd McCarthy
    Falls somewhere in between standing on its own feet as a real movie worth the price of a ticket and merely being a glorified TV episode refitted for theaters.
    • 59 Metascore
    • 50 Todd McCarthy
    A humans vs. robots saga that feels machine-made, I, Robot looks to have been assembled from the spare parts of dozens of previous sci-fi pictures.
    • 59 Metascore
    • 50 Todd McCarthy
    Desperately uncertain in tone and able to generate only sporadic laughs, pic decks out its meager story of revenge and comeuppance with a vulgar, flashy shimmer that will no doubt attract teenage girls, or the core "Clueless" audience.
    • 28 Metascore
    • 50 Todd McCarthy
    Unfortunately, the operative word is bland, as the newcomers don't add much to the formula, leaving it to their nemeses to enliven the proceedings. Narrative drive and humor are also in short supply, which creates a serious sagsag in the middle when the novelty of the fresh components has mostly worn off.
    • 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
    • 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.
    • 55 Metascore
    • 50 Todd McCarthy
    Notable for Kimberly Elise's ferocious lead performance and for the bigscreen exposure pic affords the charismatic Bishop T.D. Jakes, who plays himself and upon whose works the film is based.
    • 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.
    • 55 Metascore
    • 50 Todd McCarthy
    Laura Linney’s beautiful performance is most of the story in p.s.
    • 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.
    • 39 Metascore
    • 50 Todd McCarthy
    At best an honorable failure, an intelligent and ambitious picture that crucially lacks dramatic flair and emotional involvement.
    • 41 Metascore
    • 50 Todd McCarthy
    Te laughs "Fockers" generates are the type you feel embarrassed about almost immediately afterward.
    • 63 Metascore
    • 50 Todd McCarthy
    Penn's magnetism and hesitant line delivery create what interest there is, although the whole picture suffers from a central figure who can never get it together on any level.
    • 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.
    • 40 Metascore
    • 50 Todd McCarthy
    Lack of much substance or dramatic payoff makes the whole significantly less than sum of its parts.
    • 64 Metascore
    • 50 Todd McCarthy
    A great title in search of a movie to live up to it, this startlingly uneventful compendium of thick-headed boy-talk and female tolerance squanders a fine cast on incredibly ordinary characters and situations.
    • 44 Metascore
    • 50 Todd McCarthy
    Half-intriguing, half-tedious.
    • 59 Metascore
    • 50 Todd McCarthy
    Well-wrought individual scenes and sharply focused acting provide Rebecca Miller's third feature with a measure of gravity, but too much abrupt, even melodramatic behavior and undigested psychological matter leave nagging dissatisfactions.
    • 62 Metascore
    • 50 Todd McCarthy
    More evident than ever the film is inherently a deeply flawed work that was far from fully realized in both script and shooting.
    • 52 Metascore
    • 50 Todd McCarthy
    Well-crafted but thoroughly unsuspenseful.
    • 57 Metascore
    • 50 Todd McCarthy
    A protracted parade of woefully familiar motifs from the Amerindie playbook, Happy Endings comes off like an undernourished Paul Thomas Anderson wannabe.
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    This first dramatic feature by "Hoop Dreams" director Steve James has one foot still squarely planted in the docu aesthetic and notably lacks any psychological interest or emotional depth.
    • 56 Metascore
    • 50 Todd McCarthy
    Compared with high-powered action specialists like James Cameron, director Charles Russell seems content to accomplish just one thing per shot, getting the essentials on the screen but creating no special dynamic or look.
    • 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.
    • 61 Metascore
    • 50 Todd McCarthy
    Like his previous efforts, Jarmusch's sidelong take on Western conventions relies upon quirky tone, hipsterish performances and a highly refined visual style to put it over.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Todd McCarthy
    Despite numerous surface pleasures, including a beguiling pop soundtrack and presence of rising star Cillian Murphy in the lead role, dramatic shortcomings spell a mixed overall reception.
    • 69 Metascore
    • 50 Todd McCarthy
    Malick's exalted visuals and isolated metaphysical epiphanies are ill-supported by a muddled, lurching narrative, resulting in a sprawling, unfocused account of an epochal historical moment.
    • 64 Metascore
    • 50 Todd McCarthy
    A superficial look at the '50s sex icon, picture feels like it was researched via press clippings rather than attempting a fresh rethinking of its era and provocative subject.
    • 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.
    • 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
    • 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.
    • 60 Metascore
    • 50 Todd McCarthy
    Although arresting in spots, it falls far short of bringing out the full values of the play, and doesn't approach the emotional resonance of Franco Zeffirelli's immensely popular 1968 screen version.
    • 71 Metascore
    • 50 Todd McCarthy
    A study of the urban dope-dealing culture and its toll on everyone who comes in contact with it, the picture has an insider's feel that is constantly undercut by the filmmaker's impulse to editorialize.
    • 63 Metascore
    • 50 Todd McCarthy
    A game and winning performance by Melinda Page Hamilton is the only saving grace.
    • 55 Metascore
    • 50 Todd McCarthy
    This handsome, not unappealing look at a Scottish legend of nearly 300 years ago is too solemn, wooden and dour for its own good, and feels oddly of another era.
    • 60 Metascore
    • 50 Todd McCarthy
    Unfortunately, after a relatively promising warmup, pic actually proceeds to flatten out the characters in the latter sections and to make them less dimensional and interesting than they initially seemed.
    • 49 Metascore
    • 50 Todd McCarthy
    Disappointingly, Death of a President shrinks from its promise as a piece of genuinely radical or adventurous speculative fiction.
    • 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.
    • 64 Metascore
    • 50 Todd McCarthy
    Despite her (Judd's) efforts and those of a generally talented cast, picture just pokes along and offers nothing out of the ordinary in terms of drama, characterization or insight. Judd's presence notwithstanding, this one would be more at home on small than on big screens.
    • 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.
    • 52 Metascore
    • 50 Todd McCarthy
    Memories of dreary Sunday school classes come flooding back courtesy of The Nativity Story.
    • 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.
    • 68 Metascore
    • 50 Todd McCarthy
    Nowhere to be found is any dramatic surprise, heightening of the pulse or genuine pulling of heartstrings. Gary Winick's direction consists of button pushing, and the mechanics are palpable at every step.
    • 62 Metascore
    • 50 Todd McCarthy
    Aside from spasms of brutal violence, however, there's nothing rousing or new here.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Todd McCarthy
    A sense of strain envelops the proceedings this time around. One can feel the effort required to suit up one more time, come up with fresh variations on a winning formula and inject urgency into a format that basically needs to be repeated and, due to audience expectations, can't be toyed with or deepened very much.
    • 55 Metascore
    • 50 Todd McCarthy
    This trifle about a dizzy downtown New York scenester who gets a grip on her life is energized by several attractive characters and enough youthful pep to put it over as an upbeat diversion for teens and twentysomethings, though it has no more substance than bubblegum music.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Todd McCarthy
    Individual scenes in actor Justin Theroux's directorial debut possess a certain flair, but the central issue on which the story turns -- how obnoxious and mean-spirited can you be and still get someone to love you? -- presents a forbidding obstacle.
    • 57 Metascore
    • 50 Todd McCarthy
    Chris Gorak grabs the viewer by the throat in the first few minutes, but quickly fritters away involvement by concentrating almost exclusively on two characters who are both annoying and boring.
    • 55 Metascore
    • 50 Todd McCarthy
    By underplaying the melodrama in the presumed hope of seeming subtle when Kelley Sane’s script is so baldly melodramatic, the “Tsotsi” helmer drains the life out of an obviously explosive subject.
    • 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.
    • 73 Metascore
    • 50 Todd McCarthy
    Stylistically audacious in the way it employs six different actors and assorted visual styles to depict various aspects of the troubadour's life and career, the film nevertheless lacks a narrative and a center, much like the "ghost" at its core.
    • 57 Metascore
    • 50 Todd McCarthy
    A game, disarming lead performance from Jess Weixler, who won a jury acting prize at Sundance, goes some way toward making palatable this mish-mash, whose provocative nature could carve out a certain commercial niche.
    • 51 Metascore
    • 50 Todd McCarthy
    Impressively rendered but oddly uninviting adventure.
    • 64 Metascore
    • 50 Todd McCarthy
    Despite its indie-flavored shooting style, first-rate visual effects, reasonable intensity factor, nihilistic attitude and post-9/11 anxiety overlay, this punchy sci-fier is, in the end, not much different from all the marauding creature features that have come before it.
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    Arch and funny in equal measure, this looks like a theatrical non-starter that Clooney fans and football devotees might be tempted to check out down the line on DVD or on the tube.
    • 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.
    • 70 Metascore
    • 50 Todd McCarthy
    Adds relatively little insight to the public understanding of wayward military behavior more incisively analyzed in "Taxi to the Dark Side."
    • 73 Metascore
    • 50 Todd McCarthy
    A nice looking but heavily formulaic DreamWorks animation entry.
    • 35 Metascore
    • 50 Todd McCarthy
    This isn't the Star Wars we've always known and at least sometimes loved.
    • 56 Metascore
    • 50 Todd McCarthy
    W.
    For a film that could have been either a scorching satire or an outright tragedy, W. is, if anything, overly conventional, especially stylistically.
    • 57 Metascore
    • 50 Todd McCarthy
    A mostly formulaic approach that becomes more disappointing as the yarn unwinds.
    • 63 Metascore
    • 50 Todd McCarthy
    Nothing about the project's execution inspires the feeling that this was ever intended as anything more than a lark, which would be fine if it were a good one. As it is, audience teeth-grinding sets in early and never lets up.
    • 58 Metascore
    • 50 Todd McCarthy
    A potentially exceptional story is told in a flatly unexceptional manner.
    • 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.
    • 57 Metascore
    • 50 Todd McCarthy
    Towelhead is transgressive without being effectively subversive, gutsy to no particular end. It simply lacks style, which counts for so much in this sort of thing.
    • 64 Metascore
    • 50 Todd McCarthy
    A quiet work with Ozu-like structure and concerns, but remains more an intellectual exercise than one from the heart.
    • 64 Metascore
    • 50 Todd McCarthy
    Harris' first directorial outing since his impressive and entirely different "Pollock" biopic bears echoes of many genre predecessors, especially Howard Hawks' "Rio Bravo" -- but echoes they remain.
    • 57 Metascore
    • 50 Todd McCarthy
    Moderately inspiring in the way such true-life stories of "the indomitable human spirit" are always constructed to be.
    • 58 Metascore
    • 50 Todd McCarthy
    Stephen Daldry's film is sensitively realized and dramatically absorbing, but comes across as an essentially cerebral experience without gut impact.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 50 Todd McCarthy
    A Judd Apatow clone that's one of the few recent R-rated raunch fests the ubiquitous auteur of larky crudeness actually had nothing to do with, I Love You, Man cranks out the kind of lowball humor that makes you gag on your own laughs.
    • 61 Metascore
    • 50 Todd McCarthy
    Director Christine Jeffs, who previously helmed "Rain" and "Sylvia," tries to strike a balance between the yarn's dark currents and offbeat comedy, but the result is often uneasy, with the humor receding as things progress.
    • 61 Metascore
    • 50 Todd McCarthy
    Has moments of power and imagination, but the overworked style and heavy socially conscious bent exude an off-putting sense of self-importance, making for a picture that's more of a chore than a pleasure to sit through.
    • 34 Metascore
    • 50 Todd McCarthy
    Mostly clunky and vaguely unsavory.
    • 55 Metascore
    • 50 Todd McCarthy
    The picture serves up intermittent pleasures but is too raggedy and laid-back for its own good, its images evaporating nearly as soon as they hit the screen.
    • 70 Metascore
    • 50 Todd McCarthy
    Oddly, too, the film is somewhat shortchanged by its great star, Johnny Depp, who disappointingly has chosen to play Dillinger as self-consciously cool rather than earthy and gregarious.
    • 65 Metascore
    • 50 Todd McCarthy
    When Coppola finds creative nirvana, he frequently has trouble delivering the full goods. Tetro represents something of a middle ground in that respect.
    • 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
    • 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.
    • 55 Metascore
    • 50 Todd McCarthy
    Shortchanging traditional animation by literalizing it while robbing actors of their full range of facial expressiveness, the performance-capture technique favored by director Robert Zemeckis looks more than ever like the emperor's new clothes in Disney's A Christmas Carol.
    • 69 Metascore
    • 50 Todd McCarthy
    The film is offbeat, silly, disarming and loopy all at the same time, and viewers will decide to ride with that or just give up on it, according to mood and disposition.
    • 63 Metascore
    • 50 Todd McCarthy
    Once Damon's one-man truth squad goes off the reservation and starts behaving too much like Jason Bourne for comfort, the film begins not only spilling more blood but also leaking crucial credibility.
    • 57 Metascore
    • 50 Todd McCarthy
    An intriguingly plotted mystery that unfortunately forgets to put the noir in film noir. A drab, pale-looking affair without a trace of visual style, this cross-country pursuit yarn fights a losing battle to sustain viewer attention via narrative alone, so much does it flounder for lack of imagistic flair.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Todd McCarthy
    Sexual suspicion and game-playing spiral down from the exotically intriguing to outright silliness in Chloe.
    • 59 Metascore
    • 50 Todd McCarthy
    The demoralizing slide of the relationship between Francois Truffaut and Jean-Luc Godard, from artistic comrades-in-arms during the thrilling creation of the nouvelle vague to name-calling enemies from the early '70s onward, is charted in overly academic and constricted fashion in Two in the Wave.
    • 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.
    • 65 Metascore
    • 50 Todd McCarthy
    The Client is a satisfactory, by-the-numbers child-in-jeopardy thriller that will fill the bill as a very commercial hot weather popcorn picture.
    • 53 Metascore
    • 50 Todd McCarthy
    A film that should but doesn't get under your skin and give you the creeps.
    • 49 Metascore
    • 50 Todd McCarthy
    It all ends up being a half-hour too much of a just okay thing.
    • 65 Metascore
    • 50 Todd McCarthy
    More than even the most faithful of the earlier episodes, this film feels devoted above all to reproducing the novel onscreen as closely as possible, an impulse that drags it toward ponderousness at times and rather sorely tests the abilities of the young actors to hold the screen entirely on their own, without being propped up by the ever-fabulous array of character actors the series offers.
    • 52 Metascore
    • 50 Todd McCarthy
    Although involving, this remake of a recent French film never reaches the anticipated heights of excitement and suspense.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Todd McCarthy
    Predictable, cutesy and nowhere near hot-blooded enough.
    • 49 Metascore
    • 50 Todd McCarthy
    Like many action stars, Statham is good at cool brooding, but West's frantic style works against this.
    • 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.
    • 65 Metascore
    • 50 Todd McCarthy
    The overall enterprise, for all its intrigue and visceral impact, feels overly thought out, affected and forced in its stylization.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    This punishingly predictable tale will test whether sci-fi action fanboys can stomach having their cherished genre infiltrated by sentimental hokum about a down-on-his-luck dad and his spunky long-lost son.
    • 58 Metascore
    • 50 Todd McCarthy
    The new film may also serve a purpose by showcasing a dynamic and attractive new actor, Kenny Wormald but, otherwise, this is a by-the-numbers affair.
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    The Rum Diary remains a relatively mild diversion, not at all unpleasant but neither compelling nor convulsive.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 50 Todd McCarthy
    As easy on the eyes and ears as it is embalmed from any dramatic point of view.
    • 44 Metascore
    • 50 Todd McCarthy
    Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Todd McCarthy
    Some privileged nature footage from the African rain forest is dishonored by deeply silly narration in Chimpanzee.
    • 55 Metascore
    • 50 Todd McCarthy
    Dark Shadows sinks its teeth half-way into its potentially meaty material but hesitates to go all the way.
    • 60 Metascore
    • 50 Todd McCarthy
    Yes, it's a cartoon, but it's conspicuously unmodulated, with the volume set on high and the pacing all but pushed to fast-forward.
    • 57 Metascore
    • 50 Todd McCarthy
    A bold rethinking of a familiar old story and striking design elements are undercut by a draggy midsection and undeveloped characters in Snow White and the Huntsman.
    • 66 Metascore
    • 50 Todd McCarthy
    Never less than watchable and loaded with trademark negativity so extreme it's sometimes funny, the new film is nonetheless saddled with a protagonist so narrowly and unlikably presented that, in the end, he doesn't seem worth the time devoted to him.
    • 54 Metascore
    • 50 Todd McCarthy
    The Pact demonstrates both why people respond to horror and why it's so routinely scorned.
    • 61 Metascore
    • 50 Todd McCarthy
    The same tone and look are maintained, but the visceral excitement is muffled by familiarity, an insufficiently conceived lead character and the sheer weight of backstory and multiple layers of deception.
    • 62 Metascore
    • 50 Todd McCarthy
    A credibly drawn central character is trapped inside a half-cooked dramatic stew in Hello I Must Be Going.
    • 63 Metascore
    • 50 Todd McCarthy
    Dazzlingly designed and staged in a theatrical setting so as to suggest that the characters are enacting assigned roles in life, this tight and pacy telling of a 900 page-plus novel touches a number of its important bases but lacks emotional depth, moral resonance and the simple ability to allow its rich characters to experience and drink deeply of life.
    • 74 Metascore
    • 50 Todd McCarthy
    It is nonetheless imaginative in a highly familiar and ultimately tedious way.
    • 55 Metascore
    • 50 Todd McCarthy
    Feels slight and pretty ordinary by the end, with no edge or compelling insights, just a reasonable feel for teen attitudes and banter.
    • 61 Metascore
    • 50 Todd McCarthy
    Eccentric, misguided and occasionally charming and sweet, this curiosity item with Sean Penn in one of his nuttier performances is unlikely to be embraced critically or commercially.
    • 63 Metascore
    • 50 Todd McCarthy
    As the enduring success of this property has shown, there are large, emotionally susceptible segments of the population ready to swallow this sort of thing, but that doesn't mean it's good.
    • 50 Metascore
    • 50 Todd McCarthy
    A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.
    • 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.
    • 75 Metascore
    • 50 Todd McCarthy
    In trying to merge this alarmist theme with an old-fashioned murder mystery, the filmmakers throw at least one plot-twist sucker-punch too many, leaving the viewer with an “Oh, come on” reaction to the entire film.
    • 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.
    • 52 Metascore
    • 50 Todd McCarthy
    Nicely cast and made with as much conviction as can be brought to something so intrinsically formulaic.
    • 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.
    • 61 Metascore
    • 50 Todd McCarthy
    Danny Boyle has great and plainly evident fun adding twists and curves and tunnels and endless style to his modern London noir Trance, but he makes so many left turns that the film turns in on itself rather than going anywhere.
    • 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.
    • 62 Metascore
    • 50 Todd McCarthy
    42
    Pretty when it should be gritty and grandiosely noble instead of just telling it like it was, 42 needlessly trumps up but still can't entirely spoil one of the great American 20th century true-life stories, the breaking of major league baseball's color line by Jackie Robinson.
    • 28 Metascore
    • 50 Todd McCarthy
    The fact that the three actors who do most of the fooling around — Robert De Niro, Diane Keaton and Susan Sarandon — have a combined age of 202 pegs this as a sex romp for the Viagra crowd.
    • 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.
    • 65 Metascore
    • 50 Todd McCarthy
    A humdrum straight line of a film, Monsters University never surprises, goes off in unexpected directions or throws you for a loop in the manner of the best Pixar stories. Nor does it come close to elating through the sheer imagination of its conceits and storytelling.
    • 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.
    • 58 Metascore
    • 50 Todd McCarthy
    An attractively designed but narratively challenged, one-note film.
    • 58 Metascore
    • 50 Todd McCarthy
    The film's slender conceit is given some weight by its 11-year-old leading lady Sydney Aguirre, whose portrait of a flinty, instinctively mischievous tomboy growing up without benefit of parental guidance provides gratification even when there's not much going on.
    • 55 Metascore
    • 50 Todd McCarthy
    Richard Shepard’s film is far from dull, but it just doesn’t feel like the real thing, more like an artificial construct inspired by pumped-up crime favorites from a couple of decades ago.
    • 57 Metascore
    • 50 Todd McCarthy
    What starts as potentially interesting apocalyptic speculative fiction devolves into dreary sub-Hunger Games survivalism and banal teen romance.
    • 69 Metascore
    • 50 Todd McCarthy
    An unsuccessful attempt to get inside the head, under the skin or through the looking glass of Bush administration Secretary of Defense and Iraq War proponent Donald Rumsfeld.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Todd McCarthy
    Efficient, if ultimately rote, political thriller.
    • 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.
    • 56 Metascore
    • 50 Todd McCarthy
    A constant low-boil of ridiculousness both mocks and sustains Non-Stop, a jerry-rigged terror-on-a-plane thriller with a premise so far-fetched as to create a degree of suspense over how the writers will wriggle out of the knot of their own making.
    • 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.
    • 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.
    • 61 Metascore
    • 50 Todd McCarthy
    The repetitive storyline about successive heists during a Muppets European tour grows tiresome and the fun is intermittent.
    • 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.
    • 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.
    • 71 Metascore
    • 50 Todd McCarthy
    Although the humor helps, the Groundhog Day-like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster's wheel, going round and round, over and over again.
    • 36 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.
    • 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.
    • 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
    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.
    • 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.
    • 64 Metascore
    • 50 Todd McCarthy
    Unfortunately, Mockingjay — Part 1 has all the personality of an industrial film. There's not a drop of insolence, insubordination or insurrection running through its veins; it feels like a manufactured product through and through, ironic and sad given its revolutionary theme.
    • 21 Metascore
    • 40 Todd McCarthy
    If drive-ins still existed, this film would rule there for weeks.
    • 45 Metascore
    • 40 Todd McCarthy
    A Steve Martin vehicle that's not prankish or weird enough by half.
    • 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.
    • 62 Metascore
    • 40 Todd McCarthy
    A very vulgar pro-faith comedy rather than a sacrilegious goof, Dogma is an extraordinarily uneven film.
    • 42 Metascore
    • 40 Todd McCarthy
    Bloody but anemic story.
    • 51 Metascore
    • 40 Todd McCarthy
    A strained and pallid concoction that won't fire the collective imaginations of modern children.
    • 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.
    • 38 Metascore
    • 40 Todd McCarthy
    An ideal rainy day matinee attraction for well-to-do ladies of a certain age.
    • 62 Metascore
    • 40 Todd McCarthy
    Kasdan's direction here is even less energized than his writing.
    • 34 Metascore
    • 40 Todd McCarthy
    A lot of talent on both sides of the camera operating in low gear.
    • 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.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 40 Todd McCarthy
    Essentially approaches its subject seriously, but does take stabs both at horror and grotesque comedy, neither with much success.
    • 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.
    • 67 Metascore
    • 40 Todd McCarthy
    The gambits in Ghost Dog seem simply like literary and cinematic games devoid of any larger meaning.
    • 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.
    • 39 Metascore
    • 40 Todd McCarthy
    Scarcely more amusing than spending 90 minutes in a pre-K classroom.
    • 51 Metascore
    • 40 Todd McCarthy
    So second-hand and disposable is it in every respect.
    • 44 Metascore
    • 40 Todd McCarthy
    Impeccably crafted but dramatically dull.
    • 48 Metascore
    • 40 Todd McCarthy
    A bland and dour screen version of Sebastian Faulks' highly engrossing bestseller.
    • 59 Metascore
    • 40 Todd McCarthy
    A generally old-fashioned costumer that runs out of gas even faster than does the tempestuous love affair between writer George Sand and poet Alfred de Musset that it so devotedly recounts.
    • 59 Metascore
    • 40 Todd McCarthy
    Possessed of another outstanding wall-to-wall score by Philip Glass but rather fuzzy in its message, entry differs from its predecessors in that roughly 80% of its images are derived from existing sources and have been "tortured and recontextualized" to unusual and sometimes extreme effect.
    • 34 Metascore
    • 40 Todd McCarthy
    A thriller more contrived than it is exciting.
    • 28 Metascore
    • 40 Todd McCarthy
    Engagingly intriguing throughout most of its slightly overlong running time, and perhaps the strangely mesmerizing mood Lynch has orchestrated for the entire "Twin Peaks" undertaking should not be underestimated at this juncture. But the feeling persists that, to a considerable degree, Lynch is marking time with this project, creating new riffs and variations on themes he had already largely worked out.
    • 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.
    • 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.
    • 29 Metascore
    • 40 Todd McCarthy
    Director Renny Harlin has unfortunately adopted a let's-try-anything attitude that translates into a chaotic and unattractive visual style.
    • 56 Metascore
    • 40 Todd McCarthy
    Too familiar in its basic trajectory to be fresh or compelling.
    • 27 Metascore
    • 40 Todd McCarthy
    A contrived but entirely workable premise is given a well-tooled treatment in Sweet November, a femme-slanted doomed romance with a heavily calculated feel to it.
    • 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
    • 40 Todd McCarthy
    Saddled with a sentimentally "sincere" subject and lacking the stylistic and humorous cachet of the recent computer-animated smashes.
    • 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.
    • 52 Metascore
    • 40 Todd McCarthy
    Will serve as an excellent gauge of any viewer's tolerance level for schmaltzy contrivance and manipulation.
    • 38 Metascore
    • 40 Todd McCarthy
    As overblown as it is overlong, Bad Boys II is an enervating case of more is less.
    • 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.
    • 55 Metascore
    • 40 Todd McCarthy
    Could scarcely be more dazzling on a purely visual level, but it's mortally anemic in the story, character and thematic departments.
    • 70 Metascore
    • 40 Todd McCarthy
    Achieves some glancing poetic effects during its first hour, but becomes gross and exploitative during the shooting rampage of the final act.
    • 57 Metascore
    • 40 Todd McCarthy
    At nearly three hours, however, it rather overstays its welcome, trying the patience even as it sustains intrigue regarding its final revelations.
    • 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.
    • 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."
    • 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.
    • 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.
    • 59 Metascore
    • 40 Todd McCarthy
    An artistically experimental, ideologically apocalyptic blast at American values that is as obvious in intent as it is murky in aesthetic achievement.
    • 56 Metascore
    • 40 Todd McCarthy
    Like "Waiting to Exhale" except more so, film jerks from scene to scene with little sense of rhythm, continuity or dramatic shaping.
    • 35 Metascore
    • 40 Todd McCarthy
    An empty shell.
    • 67 Metascore
    • 40 Todd McCarthy
    Pic fails to provide any hard facts or make any incriminating connections that a reasonably informed person doesn't already know about, so intellectually Moore is largely preaching to the converted in this blatant cinematic 2004 campaign pamphlet.
    • 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.
    • 20 Metascore
    • 40 Todd McCarthy
    Series regulars Chevy Chase, Beverly D'Angelo and Randy Quaid (who joined for "Christmas Vacation") are all back for more, and thank God for Quaid, who injects a few bracing shots of mangy humor into what is otherwise a lukewarm brew.
    • 48 Metascore
    • 40 Todd McCarthy
    Short on real drama and incident and long on tedium.
    • 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."
    • 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.
    • 55 Metascore
    • 40 Todd McCarthy
    Del Toro clearly knows his way around the camera, but the shadowy eeriness that saturates the early going slowly becomes monotonous and winds up being just dull, and even partially obscures the action in the long underground finale.
    • 30 Metascore
    • 40 Todd McCarthy
    If auds swallow this odoriferous exercise in calculated career repositioning, they'll swallow anything.
    • 36 Metascore
    • 40 Todd McCarthy
    Satisfying neither as character study nor as straight-ahead actioner.
    • 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.
    • 51 Metascore
    • 40 Todd McCarthy
    Without Watts, Scott Coffey's feature-length expansion of his identically titled short wouldn't amount to much.
    • 66 Metascore
    • 40 Todd McCarthy
    The story is undoubtedly weird, but perhaps more so on paper than on the screen, since Russell and his actors have played it mostly straight in attempting to confer psychological validity on all the untoward developments.
    • 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."
    • 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.
    • 37 Metascore
    • 40 Todd McCarthy
    Overstuffed and fatally miscast, All the King's Men never comes to life.
    • 18 Metascore
    • 40 Todd McCarthy
    Unfortunately, almost everything about the film is so unbelievable and misjudged that only the most gullible audiences will feel any transporting thrill at the end other than from the movie finally being over.
    • 24 Metascore
    • 40 Todd McCarthy
    A demolition derby starring some of the most expensive cars on Earth, Redline portrays a world so drenched in wealth it gives off a stench.
    • 70 Metascore
    • 40 Todd McCarthy
    A coming-of-age piece that is slight to the point of anemia, Unstrung Heroes sports a willful eccentricity that almost immediately becomes annoying.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Todd McCarthy
    Bug
    A ranting, claustrophobic drama that trades in shopworn paranoid notions, William Friedkin's overwrought screen version of Tracy Letts' play assaults the viewer with aggressive thesping and over-the-top notions of shocking incident, all to intensely alienating effect.
    • 55 Metascore
    • 40 Todd McCarthy
    Result is still innocuously mild and inconsequential.
    • 46 Metascore
    • 40 Todd McCarthy
    A dramatic situation that should be wrenching is mostly tedious in Reservation Road.
    • 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.
    • 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.
    • 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.
    • 53 Metascore
    • 40 Todd McCarthy
    It's hard to find the genuine heartfelt moments in The Lucky Ones.
    • 54 Metascore
    • 40 Todd McCarthy
    An annoying example of self-therapy posing as art.
    • 41 Metascore
    • 40 Todd McCarthy
    Oddly misanthropic, occasionally amusing but thoroughly cheerless holiday attraction that is in no way a family film.
    • 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.
    • 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.
    • 41 Metascore
    • 40 Todd McCarthy
    Worst of all, it just feels tired and recycled.
    • 42 Metascore
    • 40 Todd McCarthy
    Teasingly enjoyable rubbish through the first hour, Orphan becomes genuine trash during its protracted second half.
    • 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.

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