Todd McCarthy
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For 1,367 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 2.7 points higher than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Wrestler
Lowest review score: 0 Showgirls
Score distribution:
1,367 movie reviews
    • 58 Metascore
    • 80 Todd McCarthy
    After a buoyantly funny first half-hour, stylish animated comedy takes a breather before ramping it up again for a rambunctious, girrrl-power finale that provides a convenient springboard for further adventures to come.
    • 62 Metascore
    • 80 Todd McCarthy
    As smooth as a good mojito, as stylish as an Armani suit and as meaningful in the grand scheme of things as yesterday's Las Vegas betting odds, Ocean's Thirteen"continues the breezy good times of the first two series entries without missing a beat.
    • 69 Metascore
    • 80 Todd McCarthy
    The sheer quantity of often outrageous stunts should help overcome franchise mustiness to entertain.
    • 64 Metascore
    • 80 Todd McCarthy
    Rough as can be in both content and style, Ghosts will be welcome everywhere tough, provocative docus are shown.
    • 76 Metascore
    • 80 Todd McCarthy
    James Mangold's remake walks a fine line in retaining many of the original's qualities while smartly shaking things up a bit.
    • 84 Metascore
    • 80 Todd McCarthy
    The excitement, majesty and extraordinary human accomplishment of the American lunar program of the '60s and early '70s is rousingly captured in In the Shadow of the Moon.
    • 76 Metascore
    • 80 Todd McCarthy
    Absorbing, exciting at times and undeniably entertaining, and is poised to be a major commercial hit. But great it's not.
    • 75 Metascore
    • 80 Todd McCarthy
    A full-blown musical that commutes between Disney's patented cartoon universe and the "real" world with cleverness and grace, this splashy production reminds one of nothing in the Disney canon so much as "Mary Poppins," not least due to the "star is born" aura that surrounds Amy Adams here, just as it did Julie Andrews 43 years ago.
    • 69 Metascore
    • 80 Todd McCarthy
    Charlie Wilson's War is that rare Hollywood commodity these days: a smart, sophisticated entertainment for grownups.
    • 83 Metascore
    • 80 Todd McCarthy
    Both sharp and fleet, Sweeney Todd: The Demon Barber of Fleet Street proves a satisfying screen version of Stephen Sondheim’s landmark 1979 theatrical musical.
    • 62 Metascore
    • 80 Todd McCarthy
    Closer to a straight-ahead medieval battle picture than the fantastical, other-worldly journey depicted in "The Lion, the Witch and the Wardrobe," this new entry is a bit darker, more conventional and more crisply made than its 2005 predecessor.
    • 65 Metascore
    • 80 Todd McCarthy
    Nineteen years after their last adventure, director Steven Spielberg and star Harrison Ford have no trouble getting back in the groove with a story and style very much in keeping with what has made the series so perennially popular.
    • 64 Metascore
    • 80 Todd McCarthy
    Like it or not, Wanted pretty much slams you to the back of your chair from the outset and scarcely lets up for the duration.
    • 69 Metascore
    • 80 Todd McCarthy
    An unusually fresh-feeling indie with a nice sense of style. The potentially predictable story of a young man who undertakes an impromptu journey to resolve some unfinished family business emerges as an appealing tale of personal growth with hand-crafted contours.
    • 72 Metascore
    • 80 Todd McCarthy
    An engagingly up-to-date melodrama steeped in local color and steered by a treacherous sense of morality.
    • 70 Metascore
    • 80 Todd McCarthy
    Offers potent romantic fantasy elements for men and women and a cast that should produce the best commercial returns for a Woody Allen film since "Match Point."
    • 84 Metascore
    • 80 Todd McCarthy
    Brolin's work is superlatively expressive of the inchoate impulses roiling inside his sorry character. But good as most of the cast is, the show belongs squarely to Penn.
    • 55 Metascore
    • 80 Todd McCarthy
    More than anything a fascinating portrait of how much New York has changed in 35 years, the film delivers the goods in excitement and big-star charisma.
    • 58 Metascore
    • 80 Todd McCarthy
    An effervescent entertainment that marks a welcome return for "Adventures of Priscilla, Queen of the Desert" director Stephan Elliott after a nine-year absence.
    • 80 Metascore
    • 80 Todd McCarthy
    This unlikely collaboration between actors Stanley Tucci and Campbell Scott is extremely well directed, making for a smartly made, delightfully acted period piece whose sensibility neatly straddles art films and the mainstream.
    • 71 Metascore
    • 80 Todd McCarthy
    Engaging, refreshingly human in its humor and becomingly modest in its aspirations, this hip look at being out of it announces some promising new talent and will play well with young audiences looking for comfortable entertainment that doesn't feel manufactured.
    • 75 Metascore
    • 80 Todd McCarthy
    Opulently produced, fittingly enough, and quite entertaining as a surface ride through the up, down and somewhat up again life of one of the New Hollywood's most colorful characters.
    • 70 Metascore
    • 80 Todd McCarthy
    May or not be Robert Altman's best film in years, but it is certainly his most pleasurable.
    • 71 Metascore
    • 80 Todd McCarthy
    Nicholson is outstanding as he gradually but tellingly sketches in aspects of a man driven by a mission that outstrips his instincts as a professional lawman.
    • 73 Metascore
    • 80 Todd McCarthy
    Snappy and unusually funny under fundamentally serious circumstances, without being contrived or sitcomy.
    • 78 Metascore
    • 80 Todd McCarthy
    Taking film noir material and turning it inside out visually and morally, The Deep End is an absorbing, beautifully made melodrama that succeeds on formal levels more than it does with suspense or emotion.
    • 67 Metascore
    • 80 Todd McCarthy
    Bright, glossy, grandly scaled and dramatically stolid, 79-year-old writer-director Jerzy Kawalerowicz's longtime dream project mixes earnest religiosity with the depraved cruelty of Nero's Rome in the classic De Mille tradition.
    • 73 Metascore
    • 80 Todd McCarthy
    The Coen brothers tread into James M. Cain territory with The Man Who Wasn't There, but with less tasty results than either Cain or the Coens themselves at their best.
    • 64 Metascore
    • 80 Todd McCarthy
    This immaculately made first feature from noted musicvid and commercials director Mark Romanek provides Robin Williams with one of his creepiest, atypical roles, and the comic star responds with an unusually restrained performance that is, in the end, quite moving.
    • 52 Metascore
    • 80 Todd McCarthy
    Dramatically powerful, surprising in its strong narrative differences from previous cinematic tellings of "the greatest story" and bold in the extent to which it presents Jesus as a confrontational and threatening figure in the Judean context of the time.