Todd McCarthy

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For 1,781 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 The Usual Suspects
Lowest review score: 0 Being Human
Score distribution:
1781 movie reviews
    • 74 Metascore
    • 70 Todd McCarthy
    This can't-take-your-eyes-off-it documentary feels like both a mea culpa and a purge of lingering ghosts.
    • 50 Metascore
    • 60 Todd McCarthy
    This action-drenched roller-coaster of a film tries to have its cake and eat it too when it comes to generating a tidal wave of violence — but it undeniably delivers the goods when it comes to action and impudence.
    • 59 Metascore
    • 70 Todd McCarthy
    Despite the recognizably daunting challenges in telling this long-arc story in an entirely coherent way, The Banker spins a surprising and engaging yarn pinned to central elements that made it hard to tell. Its lively, positive spirit helps it over any number of speed bumps, the social backdrops play to its advantage and the top-line cast members pull their weight and then some.
    • 68 Metascore
    • 80 Todd McCarthy
    Affleck gives the impression of intimate familiarity with the anguish and self-disgust that dominate Jack’s life; this character and project clearly meant something important to him, as the title bluntly suggests, and he gives it his all without overdoing the melodrama.
    • 71 Metascore
    • 70 Todd McCarthy
    By the time the film begins approaching the two-hour point, the feeling sets in that perhaps Whannell is stretching his conceit a bit too far for its own good. But it’s hard to deny his ingenuity and flair with genre tropes and keeping his audience somewhere approaching the edge of its collective seat.
    • 77 Metascore
    • 70 Todd McCarthy
    For all the film's intellectual pretensions, both good and bad, Duke's great gravitas and Beetz' spontaneity lift the film partway out of its quasi-spiritual morass; they provide a hint of the real, of a beating heart, even if the drama itself exists in a parched desert realm devoid of actual life.
    • 87 Metascore
    • 100 Todd McCarthy
    The best film about the wages of aging since Amour eight years ago, The Father takes a bracingly insightful, subtle and nuanced look at encroaching dementia and the toll it takes on those in close proximity to the afflicted.
    • 88 Metascore
    • 80 Todd McCarthy
    The charming low-key humor and the actors are all winning without being coy or cutesy. Minari is a modest pic but very human and accessible, and quite distinctively so in comparison to the vast majority of high-concept and/or violent movies rolling out today.
    • 68 Metascore
    • 70 Todd McCarthy
    There are enough diverse personalities in this unexpected film to generate a degree of interest in a subject few have probably ever thought about.
    • 54 Metascore
    • 80 Todd McCarthy
    Wendy in every way feels like a handmade, one-of-a-kind, exceptionally fresh and — one hesitates to use the word — organic piece of work that quite quickly imparts a desire to see it again.
    • 74 Metascore
    • 80 Todd McCarthy
    Fennell’s film could be called a polemic, but dramatically it’s so sharply and boldly laid out that its narrative shocks rule the day. It’s jolting to witness how it refuses to let anyone off the hook.
    • 84 Metascore
    • 90 Todd McCarthy
    Gubbins’ script is tart, verbally lively and neatly constructed, while director Josephine Decker, in her first outing since her well-received 2018 Sundance entry Madeline’s Madeline, keeps a very tight rein on things, adroitly mixing in tension, innuendo and dark humor to keep the drama at a satisfying low boil most of the way.
    • 93 Metascore
    • 100 Todd McCarthy
    Dick Johnson Is Dead is a funny, touching and, to be sure, unique film, and the Johnsons are a very fortunate father and daughter
    • 85 Metascore
    • 90 Todd McCarthy
    This is a documentary both tragic and poignant, not to mention maddening in that only a few underlings, and not the perpetrators, will pay for the crime committed in Istanbul. The evidence is all here for the world to see.
    • 76 Metascore
    • 80 Todd McCarthy
    The film’s sustained intimacy speaks highly of the trust the subjects came to feel for the filmmaker, who is able to cut to the quick as he follows and reveals their life phases while also maintaining a filmmaker’s discreet distance. It’s an unusual look at the slipperiness of the human condition.
    • 84 Metascore
    • 80 Todd McCarthy
    Palmason boldly risks audience disenfranchisement by pushing his disturbing story to unexpected lengths dramatically and stylistically, thereby winning a creative wrestling match with a potentially intransigent narrative.
    • 52 Metascore
    • 40 Todd McCarthy
    This Vietnam War-themed drama is one of the dullest films made about that oft-dramatized conflict.
    • 26 Metascore
    • 20 Todd McCarthy
    This is a film that just very expensively sits there onscreen with nothing ever seeming even remotely at stake. It has no weight or substance and delivers no impact of any kind.
    • 75 Metascore
    • 90 Todd McCarthy
    La Belle Epoque is the sort of vastly entertaining mainstream French film that was produced with regularity during the 1970s-'80s and was sometimes remade by Hollywood. Those days are long gone but it could happen with this witty, sexy and original romantic comedy that touches many points of satisfaction.
    • 59 Metascore
    • 80 Todd McCarthy
    It’s impressive and enjoyable to behold how easily Smith and Lawrence slide back into these characters and actually make them more accessible and fun to be around than before.
    • tbd Metascore
    • 80 Todd McCarthy
    Nearly every scene offers a general backdrop of tragic sadness leavened by the quotidian necessity of fulfilling basic requirements, doing a job, tending to the moment-to-moment needs of others and finding hope wherever one can.
    • 53 Metascore
    • 50 Todd McCarthy
    The massive jumble of standoffs, near-misses, tense confrontations, narrow escapes and slick victories, while momentarily exciting, can lack plausible motivation and credibility. More often than not, one wonders not so much what just happened but why, and what was at stake.
    • 54 Metascore
    • 40 Todd McCarthy
    Antic and frantic, Spies is very much a one-joke affair, which is fine for a short but woefully insufficient for a 101-minute feature.
    • 64 Metascore
    • 80 Todd McCarthy
    The actors throw themselves into their roles with terrific zeal, enlivened by the often blunt dialogue and the issues at stake.
    • 68 Metascore
    • 80 Todd McCarthy
    Befitting the subject's personality and entertainment predilections, What She Said is adamantly engaging, full of lively, appreciative voices that, more than anything else, bring her enthusiasm and keen-mindedness back to life.
    • 78 Metascore
    • 90 Todd McCarthy
    Even if the film is mostly hitting familiar notes in terms of story and theme, it expresses a concise, focused and expertly managed vision with which there’s little to quibble, and the extraordinary style represents the fruition of a long-imagined dream on the part of many directors and cinematographers. From now on, when the discussion turns to great works of cinematography and camera operating, 1917 will always have to be high on the list.
    • 68 Metascore
    • 80 Todd McCarthy
    It’s Hauser who carries the film in a rare and unlikely role, that of a presumed loser in life (the man did die just a few years later, at 44) who suffered very unwanted attention — but who, when he needed to, found a way to rise to the occasion.
    • 51 Metascore
    • 40 Todd McCarthy
    The ever-righteous profile maintained by Boseman’s detective gets to be a bit limiting after a while; if anything was going to have multiple dimensions in this film, it should have been him, but the script is instead built around the goal of providing maximum movement and hoped-for tension. It’s got the former but only sporadically achieves the latter.
    • 64 Metascore
    • 60 Todd McCarthy
    Frozen 2 has everything you would expect — catchy new songs, more time with easy-to-like characters, striking backdrops, cute little jokes, a voyage of discovery plot and female empowerment galore — except the unexpected.
    • 73 Metascore
    • 80 Todd McCarthy
    Successfully restraining himself throughout from getting fancy or experimental, Haynes has intently devoted himself to the story and his actors, with strong, unshowy work that ideally serves the tale being told.

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