Todd McCarthy

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For 1,726 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 0.6 points lower than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Being Human
Score distribution:
1726 movie reviews
    • 55 Metascore
    • 60 Todd McCarthy
    By and large, very few remakes, other than Gus Van Sant's shot-by-shot reproduction of Psycho, have adhered as closely to their original versions as this one does. Everything here is so safe and tame and carefully calculated as to seem pre-digested. There's nary a surprise in the whole two hours.
    • 69 Metascore
    • 60 Todd McCarthy
    The young cast, led by Tom Holland as the bashful web-slinger and Zendaya as a shy girl slow to lose her inhibitions, is plenty appealing as well as funny. But without a proper, full-on villain, as well as an adequate substitute for Robert Downey Jr.'s late, oft-mentioned Tony Stark, this comes off as a less than glittering star in the Marvel firmament.
    • 84 Metascore
    • 90 Todd McCarthy
    Ultimately, what gives Toy Story 4 genuine heft is that it's a tale of second chances and characters who take advantage of them. Like its predecessors, the film is rambunctious, noisy, genial, unpretentious, action-packed and old-fashioned in a very good way.
    • 40 Metascore
    • 60 Todd McCarthy
    To listen to Jackson doing street talk is akin to reveling in Olivier reciting Shakespeare — in other words, it's one of the great pleasures of the language. Edit the film down to his dialogue and you have a wonderful greatest hits collection.
    • 38 Metascore
    • 60 Todd McCarthy
    In and of itself, this revamp is mildly engaging but also feels like it's expending a great deal of energy for quite modest entertainment returns.
    • 43 Metascore
    • 50 Todd McCarthy
    Played at an unmodulated level of subdued excitement that never quickens the pulse, longtime series producer Simon Kinberg's directorial debut lacks the exclamation point fans have justifiably been hoping for at the end of a road.
    • 73 Metascore
    • 70 Todd McCarthy
    Wallace was clearly a very ambitious, capable and confident man, but the film, as absorbing as it is, is two-dimensional.
    • 66 Metascore
    • 70 Todd McCarthy
    Intelligent, vastly appreciative of its subject and conventional in approach, Pavarotti can scarcely go wrong due to the charisma of its subject, the gorgeous music that wallpapers the entire film and an arc of success arguably unmatched in the opera world. If the film is all but engorged with goodies, one can hardly object that this is in some way inappropriate to it subject.
    • 54 Metascore
    • 40 Todd McCarthy
    A bit more discipline would have helped this one, which struggles to hold viewer interest across two full hours but would likely register more strongly with 15-20 minutes removed.
    • 69 Metascore
    • 60 Todd McCarthy
    The doc swells with wonderful archival footage that immerses you in the hedonistic environment the principals occupied, but in ranging wide it somehow doesn’t go deep, or at least deep enough, into its twin protagonists to satisfy as the full story.
    • 64 Metascore
    • 70 Todd McCarthy
    This is minor Herzog, to be sure, but alternately amusing and disarming nonetheless. It also makes an implicit request: Analyst, analyze yourself.
    • 76 Metascore
    • 40 Todd McCarthy
    Unfortunately, instead of embracing the weighty moral, religious and political components of the story, Malick has alternately deflected and minimized them.
    • 82 Metascore
    • 80 Todd McCarthy
    It’s a demanding sit, a film both rigorous and indulgent, rewarding and aggravating.
    • 56 Metascore
    • 20 Todd McCarthy
    A lifeless, tone-deaf variation on Invasion of the Body Snatchers. ... There’s just nothing going on here with which to engage your interest, nor is there a single moment to even slightly increase the viewer’s pulse rate.
    • 53 Metascore
    • 70 Todd McCarthy
    It’s a minor, but most edible, bloody bonbon.
    • 51 Metascore
    • 50 Todd McCarthy
    The filmmaking here is plain, prosaic and earnest. For some, just getting worked up all over again about capital punishment will be enough, but without flair or fresh insights into its chosen subject, this just seems like spinning more wheels about on oft-discussed subject.
    • 48 Metascore
    • 70 Todd McCarthy
    Handsomely made in the customarily fastidious style of most period biographical dramas, Tolkien is strongly served by Hoult, who, after four X-Men outings (and a supporting role in last year's The Favourite), demonstrates that it's high time he moved on from that sort of thing to more interesting and challenging dramatic characterizations.
    • 65 Metascore
    • 70 Todd McCarthy
    This labor of love should be embraced wherever the term cinephile means anything.
    • 78 Metascore
    • 70 Todd McCarthy
    While constantly eventful and a feast for the eyes, it's also notably more somber than its predecessors. But just when it might seem about to become too grim, Robert Downey Jr. rides to the rescue with an inspired serio-comic performance that reminds you how good he can be.
    • 61 Metascore
    • 40 Todd McCarthy
    Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.
    • 61 Metascore
    • 60 Todd McCarthy
    Despite the heavy dose of action and numerous tense situations, this Netflix offering has trouble staying in high gear once it gets there and the characterizations remain one dimensional — the men all speak exactly the same way.
    • 58 Metascore
    • 30 Todd McCarthy
    It’s a film that wants to be visionary but isn’t.
    • 64 Metascore
    • 50 Todd McCarthy
    The picture is not dull, exactly, just mundane, marked by unimaginative plotting, cut-rate villains, a bland visual style and a lack of elan in every department.
    • 71 Metascore
    • 70 Todd McCarthy
    Diverting and for the most part agreeably amusing, Late Night is about as mainstream and conventional a movie as could be made right now about the timely issues of women and minorities finding equal footing in the workplace.
    • 84 Metascore
    • 80 Todd McCarthy
    All the dramatic components have not only been well thought out by Talbot and co-writer Rob Richert, but they’re adorned, for the most part, by a sense of reality that keeps pretentiousness at bay. To be sure, this is a highly calculated and worked-out story, but the humor and lively playing of the entire cast keeps the film aloft across its two hours.
    • 72 Metascore
    • 80 Todd McCarthy
    So consistently odious, diabolical and simply anti-humane is Cohn’s lifetime portfolio that you really feel the need of a cold shower afterwards. But this kind of dark brilliance is always fascinating, and the doc is able to trade on this all the way through.
    • 49 Metascore
    • 30 Todd McCarthy
    There’s no denying that The Tomorrow Man has a knockout ending. But is it worth sitting through the mundane, relatively uneventful film that precedes it? Few will think so.
    • 52 Metascore
    • 80 Todd McCarthy
    It’s quite a story, which Berlinger moves along with unrelenting energy.
    • 59 Metascore
    • 60 Todd McCarthy
    Little Monsters irreverently builds enough good will and comic energy in the early-going to carry it to its conclusion, so it’s bound to gather a cult of some dimension.
    • 41 Metascore
    • 40 Todd McCarthy
    Gareth Dunnet Alcocer's script has a tidy, programmed feel that results in a feel-good version of a grim and sordid modern yarn.

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