Todd McCarthy

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For 1,701 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 The Incredibles
Lowest review score: 0 Being Human
Score distribution:
1701 movie reviews
    • 70 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.
    • 79 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.
    • tbd 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.
    • 60 Metascore
    • 80 Todd McCarthy
    It’s quite a story, which Berlinger moves along with unrelenting energy.
    • 56 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.
    • 75 Metascore
    • 60 Todd McCarthy
    Colaizzo’s dialogue often crackles with modern idioms and good pithy comments, flowing from the distinct characters in easy fashion. As a director, he’s paced the action well. He knows what he’s doing, even when he’s doing the wrong thing.
    • 61 Metascore
    • 70 Todd McCarthy
    There’s enough fun, writerly glee and actors enjoying their little rampages to make Velvet Buzzsaw a decent distraction for a couple of hours, but also something of a schizophrenic case all its own.
    • 78 Metascore
    • 80 Todd McCarthy
    Soderbergh and McCraney have entertainingly stirred the pot and put a perspective on the screen that will stir some reactions in the real world and get the issue of ownership and fairness talked about, at least for a while. It’s a sharp-minded film.
    • 38 Metascore
    • 30 Todd McCarthy
    Like a long fishing day without a bite, Serenity invites impatience rather than excited anticipation, and the eventual payoff provokes a big “huh?”
    • 56 Metascore
    • 60 Todd McCarthy
    A labor of love, to be sure, but a simple, small-scaled domestic drama with none of the broad appeal of the hugely popular "Shakespeare in Love" of 1998, this thoroughly respectable Sony Classics pickup will command the interest mostly of older-skewing art house habituees.
    • 61 Metascore
    • 100 Todd McCarthy
    Through wit, surprise and an irrepressible ballsiness comes a scorching humor that neither curdles nor becomes exhausted.
    • 58 Metascore
    • 80 Todd McCarthy
    Less cranky and inciting than Gran Torino but persuasively expressive in conveying an old man's regrets along with his desire to improve himself even in late age, The Mule shows that Eastwood's still got it, both as a director and actor.
    • 55 Metascore
    • 50 Todd McCarthy
    One is grateful to have Momoa for company. Unlike some strutters who can't hide how delighted they are to show off their trainer-honed bods, Momoa wears his superb physique casually and his take-it-or-leave-it, devil-may-care attitude makes the narrative's long haul much easier to bear than would otherwise have been the case.
    • 44 Metascore
    • 50 Todd McCarthy
    In short, it's a long-arc revenge tale fitted out with very elaborate effects, courtesy of Peter Jackson's Wingnut Films, and characters that are moderately decent company but hardly compelling.
    • 87 Metascore
    • 70 Todd McCarthy
    The freshest and most stimulating aspect of the film is the visual style, which unites the expected Marvel mix of “universes” (it used to be assumed there was only one universe in creation) with animation that looks both computer-driven and hand-drawn, boasts futuristic as well as funky urban elements, moves the “camera” a lot and brings together a melting pot of mostly amusing new characters.
    • 32 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.
    • 60 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.
    • 51 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.
    • 60 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.
    • 75 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.
    • 71 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.
    • 71 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.
    • 74 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?
    • 69 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.

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