Todd McCarthy

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For 1,680 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 0.4 points lower than other critics. (0-100 point scale)

Todd McCarthy's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 Being Human
Score distribution:
1680 movie reviews
    • 34 Metascore
    • 20 Todd McCarthy
    Mendelsohn's villain is boringly one-note, Eve Hewson's Marion uses an incongruous Yank accent and always looks as though she's just stepped out of the makeup trailer, F. Murray Abraham swans around in fancy cardinal's vestments looking sinister and Foxx seems pissed off that he's not somewhere, perhaps anywhere, else. As for Egerton, he's a boy doing a man's job.
    • 66 Metascore
    • 40 Todd McCarthy
    Slack and unexciting compared to Ryan Coogler's blisteringly good 2015 reconception of a 1970s icon for modern audiences, this follow-up is an undeniable disappointment in nearly every way, from its dreary homefront interludes to a climactic boxing match that feels far-fetched in the extreme.
    • 72 Metascore
    • 70 Todd McCarthy
    Director Rourke exhibits confidence and enthusiasm in dealing with such juicy material in the company of her two outstanding young actresses.
    • 57 Metascore
    • 60 Todd McCarthy
    This is a wannabe shocker with a clever premise that doesn't really get down and dirty or betray the base instincts of a born horror filmmaker.
    • 58 Metascore
    • 50 Todd McCarthy
    The dramatic approach here is clear, efficient and entirely on-the-nose, with little time for anything that might distract from the hagiographic effort in play. Its sole purpose is to ennoble and proclaim a hero, which its subject almost certainly is. But it makes for notably simplified drama.
    • 72 Metascore
    • 70 Todd McCarthy
    Everything the film has to offer is obvious and on the surface, its pleasures simple and sincere under the attentive guidance of director Jon S. Baird.
    • 70 Metascore
    • 60 Todd McCarthy
    Reasonably engaging as far as it goes, Searching for Ingmar Bergman evinces great appreciation for the writer-director's legacy and offers the testimonies of numerous eminent enthusiasts, but it leaves a good deal to be desired.
    • 73 Metascore
    • 70 Todd McCarthy
    What is gratifying about the film is Volf's obvious love for and devotion to Callas, as well as his completist's urge to track down and include every scrap of footage at all relevant to telling her story and documenting her greatness.
    • 73 Metascore
    • 70 Todd McCarthy
    There is plenty to relish here in the first-hand accounts offered up by the couple of dozen witnesses called upon by Ferguson.
    • 35 Metascore
    • 20 Todd McCarthy
    Venom feels like a throwback, a poor second cousin to the all-stars that have reliably dominated the box-office charts for most of this century. Partly, this is due to the fact that, as an origin story, this one seems rote and unimaginative. On top of that, the writing and filmmaking are blah in every respect; the film looks like an imitator, a wannabe, not the real deal.
    • 65 Metascore
    • 70 Todd McCarthy
    A film that’s pleasurable to engage with, even if the latter stretch doesn’t come close to realizing some of the early promise.
    • 63 Metascore
    • 40 Todd McCarthy
    In what does have to be perversely honored as some kind of special accomplishment for Moss as a performer, Becky sustains such an abusive, mad, pathetic and immature display for well over an hour that you just want to bolt. What edification can possibly be gotten from such a grotesque form of exhibitionism?
    • 70 Metascore
    • 70 Todd McCarthy
    Distinctive and amusing turns by Viggo Mortensen and Mahershala Ali make Peter Farrelly’s first solo feature outing a lively and likable diversion.
    • 75 Metascore
    • 70 Todd McCarthy
    Running a farm is a tough life of never-ending work, and once the film drops its initial idealization of back-to-the-land fantasies in favor of a more realistic assessment of the challenges involved, it becomes genuinely involving and heartening.
    • 71 Metascore
    • 80 Todd McCarthy
    The mix of commentators is unusual and lively, hardly the usual crowd that often pops up in documentaries like this, the clips are illustrative and on point in addition to often being eye-popping, and the film looks certain to please Keaton aficionados. Most importantly, it's likely to induce newcomers to investigate the great stone face for themselves.
    • 84 Metascore
    • 90 Todd McCarthy
    Widows is a solid piece of genre fiction made more resonant by how its creators have bored down into its characters and sociological implications in ways specifically designed to examine some of the rotten underpinnings of business as usual.
    • 63 Metascore
    • 50 Todd McCarthy
    As enacted here by unquestionably fine actors, this story does not emerge as compelling or convincing, and the film is aggravatingly narrow-minded in its interests. However, if one stays with it all the way to the end, it is absolutely worth sitting still for the end credits, over which is played a monologue by Nic which is the best thing in the picture.
    • 72 Metascore
    • 80 Todd McCarthy
    Hal
    Digging deep into the archives for rare and revealing material to accompany interviews with many of his collaborators and intimates, filmmaker Amy Scott packs a lot into 90 minutes with this insightful and warm look at an artist whose best work always revealed a heightened social conscience.
    • 64 Metascore
    • 60 Todd McCarthy
    As ambitious and sometimes unsettling as it is, the film, after crossing back and forth over the line many times, ultimately feels affected in its aspirations toward making some profound statement about self-abasement and sacrifice, making one feel like rejecting the whole thing despite some striking individual moments.
    • 78 Metascore
    • 90 Todd McCarthy
    This first English-language outing by the ever-adventurous French director Jacques Audiard (A Prophet, Rust and Bone) is a connoisseur’s delight, as it's boisterously acted and detailed down to its last bit of shirt stitching.
    • 78 Metascore
    • 80 Todd McCarthy
    It's as if Neville, inspired by the scattershot commentary of the party guests in Wind, felt he'd been given permission to be a bit wild, even chaotic, with his documentary film style, an approach that proves both apt and a bit frustrating.
    • 79 Metascore
    • 90 Todd McCarthy
    The film makes plenty of mileage from trading on the charm of a good bad boy, and Redford’s long experience in playing such roles serves him beautifully here; he knows by now he doesn’t have to push his attractiveness to be ingratiating. His work here is natural, subtle, ingratiating and doesn’t miss a trick.
    • 78 Metascore
    • 70 Todd McCarthy
    Part sincere and part smarmy, part amusing and part windy nonsense, The Ballad of Buster Scruggs plays like an old Western-themed vaudeville show featuring six unrelated sketches of drastically differing quality.
    • 79 Metascore
    • 80 Todd McCarthy
    Wellesians will vigorously debate the aesthetic results of this torturously achieved accomplishment but, to the credit of those who, against daunting odds and nearly a half-century's worth of obstacles, arduously pushed this project to completion, the end result feels like a plausible fulfillment of the style Welles himself established for it.
    • 96 Metascore
    • 100 Todd McCarthy
    Roma may not be the memoir film many might have expected from such an adventurous, sometimes raunchy, sci-fi/fantasy-oriented filmmaker, but it’s absolutely fresh, confident, surprising and rapturously beautiful.
    • 38 Metascore
    • 50 Todd McCarthy
    Like an athlete who leaves it all on the field, the film leaves it all in the moment and on the screen, and there's really nothing to take away afterwards. There is nothing to think about, no nuances to contemplate, no connection with these characters who exist only in moments of hyper-tension and crisis, no greater truths to consider other than to prevail.
    • 46 Metascore
    • 30 Todd McCarthy
    Blandly internationalized, generically derivative, drained of any personality, edited as if by computer and bleached of the slightest hint of emotion other than a holiday card-like sympathy for children and allegedly cute animals, The Meg is a one hundred percent inorganic meal, something made from pre-tasted and then regurgitated ingredients.
    • 60 Metascore
    • 50 Todd McCarthy
    Christopher's lengthy two-hander scenes with Pooh quickly wear out their welcome; what at first is agreeably amusing shortly becomes grating, then just tedious.
    • 67 Metascore
    • 60 Todd McCarthy
    The central premise is arresting, as is the style, but there's a lot more that could have been done with it than just show how one ill-defined individual instantly opts to join his country's lowest form of life.
    • 67 Metascore
    • 80 Todd McCarthy
    At a certain point, anyone who reads Bowers’ book or sees this film has to decide whether to believe him or not. At this stage, there is no reason not to; Scotty does not seem remotely like a braggart or someone desperate for a sliver of late-in-life fame.

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