Todd McCarthy

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For 1,650 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Traffic
Lowest review score: 0 Being Human
Score distribution:
1650 movie reviews
    • 90 Metascore
    • 70 Todd McCarthy
    Unassuming, idiosyncratic and set in the run-down eponymous New Jersey city that has produced more than its share of noted personalities, this is a mild-mannered, almost startlingly undramatic work that offers discreet pleasures to longtime fans of the New York indie-scene veteran.
    • 77 Metascore
    • 40 Todd McCarthy
    This aggravatingly empty would-be suspense piece puts all its trust in its star to save the day, but even this compulsively watchable performer can’t elevate such a vapid, undeveloped screenplay.
    • 79 Metascore
    • 70 Todd McCarthy
    Nichols has delivered a timely drama that, unlike most films of its type, doesn’t want to clobber you with its importance. It just tells its story in a modest, even discreet way that well suits the nature of its principal characters.
    • 51 Metascore
    • 40 Todd McCarthy
    The intended metaphors and commentary about the interchangeability and disposability of bodies are entirely clear, although from the evidence it would appear that Refn is perhaps even more entranced by the surface glamour of the world he so voluptuously depicts than he is repelled by it.
    • 70 Metascore
    • 50 Todd McCarthy
    That the film mostly falls flat has far more to do with the largely unconvincing material rather than with the co-stars, who are more than game for often clownish shenanigans Black and his co-writer Anthony Bagarozzi have concocted for them; in fit and starts, the actors display a buoyant comic rapport.
    • 66 Metascore
    • 50 Todd McCarthy
    The film represents the director in a more pensive, even philosophical vein, less interested in propulsive cinema and more reflective about what would seem to mean the most to him—dreams, and the ability to make them come true. This is what The BFG is about but, unfortunately, that is basically all it’s about and by a considerable measure too explicitly and single-mindedly so.
    • 55 Metascore
    • 50 Todd McCarthy
    Unfortunately, as a director, Foster shows no knack or instinct for building tension; her style is strictly presentational, brisk and efficient, but with no sly trickery, desire to surprise or to forge technique that suggests an imaginative approach to storytelling.
    • 64 Metascore
    • 70 Todd McCarthy
    Wispy and familiar in its themes and humorous strokes, Café Society benefits from an exceptionally adept cast led by Jesse Eisenberg, Kristen Stewart and Steve Carell, as well as from a luminous glow that emphasizes both the old Hollywood nostalgia and the story’s basis in dreams and artifice.
    • 52 Metascore
    • 40 Todd McCarthy
    Despite the undeniable presence of a huge amount of action, X-Men: Apocalypse is decidedly a case of more is less, especially when compared with the surprising action and more interesting personal interactions (including the temporary subtraction of some characters) in other big Marvel franchises.
    • 27 Metascore
    • 50 Todd McCarthy
    A certain integrity and seriousness of intent gleams through, but Nina is just too big a subject, and talent, to be compressed into such a small package.
    • 36 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.
    • 77 Metascore
    • 70 Todd McCarthy
    Even as the drama and its treatment become increasingly conventional and familiar as the film moves toward its patly (and arguably overly) audience-pleasing wrap-up, the exceptional visual quality and lifelike animal renditions remain stunning throughout.
    • 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.
    • 51 Metascore
    • 50 Todd McCarthy
    If the story is meant to represent a microcosm of the immigration problem, it’s woefully reductive. If it’s meant to be first and foremost an action thriller, it does have a few nice moves to offer.
    • 28 Metascore
    • 60 Todd McCarthy
    While not nearly as elaborate, nor as visually sophisticated as the last Mission: Impossible outing or the most recent Bonds, London Has Fallen is actually more plausible at its core, if not in its details, which is partly why it succeeds in laying claim to an audience's attention for the entirety of its swift running time.
    • 57 Metascore
    • 40 Todd McCarthy
    As in their previous films (I Love You Phillip Morris; Crazy, Stupid, Love; Focus), directors Glenn Ficarra and John Requa enjoy just scattershot success in hitting their seriocomic targets, scoring from time to time with their more coarse and outlandish gambits but rarely inducing one to take what they're watching very seriously.
    • 69 Metascore
    • 80 Todd McCarthy
    A short, funny and illuminating interview-based documentary that will leave theater and film mavens both satisfied and hungry for many additional courses.
    • 55 Metascore
    • 60 Todd McCarthy
    Once the pieces are all in their places, the deliberate set-up begins to pay some dividends to those who relish the form.
    • 52 Metascore
    • 50 Todd McCarthy
    Individual scenes are charged with energy, tense confrontations are numerous, and Hillcoat and Cook's intentions were undoubtedly partly to tease and taunt viewers with uncertainly about where they, and the characters, stand, to figure out who's got the power and who doesn't. If it was possible to give a damn about any of them, it would help.
    • 65 Metascore
    • 80 Todd McCarthy
    It takes a little while to get in gear — or perhaps just to adjust to what's going on here — but once it does, Deadpool drops trou to reveal itself as a really raunchy, very dirty and pretty funny goof on the entire superhero ethos, as well as the first Marvel film to irreverently trash the brand.
    • 72 Metascore
    • 50 Todd McCarthy
    There is amusement to be had, engaging actors to admire and beautiful craftsmanship to behold, but the entertainment quotient is below their usual standard when it comes to the films they target for a mass audience, of which this is one.
    • 66 Metascore
    • 60 Todd McCarthy
    Life may be as unfair and arbitrary as Solondz portrays it, but it is arguably more diverse in its moods and its ups and downs. The pic may not be a dog, but nor is it likely to become anyone’s best friend.
    • 74 Metascore
    • 80 Todd McCarthy
    The result makes you realize how few realistic and three-dimensional date movies have been made in an era of throbbing hook-up encounters and R-rated horny teen gross-outs.
    • 87 Metascore
    • 70 Todd McCarthy
    Cheeky in its approach as well as spirited and good-natured, this enterprising adaptation of the author’s relatively unfamiliar early novella Lady Susan remains buoyant through most of its short running time but lacks the stirring emotional hooks found in the best Austen works, on the page as well as the screen.
    • 76 Metascore
    • 70 Todd McCarthy
    Herzog's quick visit to the front lines represents an appealing, scattershot, easily digestible progress report aimed at a general audience that's now becoming vaguely aware that we're all living at the beginning of some kind of new world that could be brave or extraordinarily homogeneous. Or both.
    • 57 Metascore
    • 40 Todd McCarthy
    The Intervention feels bland and without consequence, as it’s not possible to invest in characters about whom we’re offered so little.
    • 69 Metascore
    • 70 Todd McCarthy
    The film offers up more than enough in terms of intelligence, insight, historical research and religious nuance as to not at all be considered a missed opportunity.
    • 96 Metascore
    • 90 Todd McCarthy
    Lonergan layers and then layers some more, allows his characters to stew, not always disclose themselves and then come to decisions and changes naturally, or after due deliberation. And they can relapse and not always be ready for the breakthrough moment toward which the story seems to be pointing. The result is something that feels more akin to a full meal than the usual cinematic popcorn.
    • 63 Metascore
    • 70 Todd McCarthy
    Its fleeting intoxications momentarily provide suggestions—and, for some, memories—of how the highest highs can sometimes make the drudgery of the rest of life worth it.
    • 48 Metascore
    • 60 Todd McCarthy
    To use what, under the circumstances, is a far too convenient metaphor, Bay is interested in accelerating from zero to 100 as quickly as possible and then maintaining speed, rather than skillfully shifting gears and adjusting speeds based on curves, hills and road conditions. In this case, he gets you there, but you know the ride could have been a lot more varied and nuanced.

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