Mike McCahill

Mike McCahill
Tomatometer-approved critic

movie Reviews Only

T-Meter Title | Year Review
3/5 81% Instant Family (2018) If it can't entirely banish the spectre of 12A-rated blandness from its doorstep, Instant Family retains the obvious appeal of watching basically nice people attempt a fundamentally decent thing for a few hours. - Guardian EDIT
Read More | Posted Feb 15, 2019
4/5 67% Ek Ladki Ko Dekha Toh Aisa Laga (2019) A closet door has been opened, calmly yet decisively and resonantly: it remains to be seen what - and who - comes out of it. - Guardian EDIT
Read More | Posted Feb 2, 2019
1/5 No Score Yet The Gandhi Murder (2019) We may not witness an eggier film all year. - Guardian EDIT
Read More | Posted Jan 30, 2019
2/5 No Score Yet Merry Men: The Real Yoruba Demons (2018) We're left with glimpses and glimmers of a cinema growing in confidence - one that's learning how to put its resources up on screen in ways that might appeal to audiences at home and abroad. But it's still early days. - Guardian EDIT
Read More | Posted Dec 7, 2018
3/5 No Score Yet Plagi Breslau (2018) Offering a set-piece every 10 minutes, a twist every 30, it's pure pulp, but Vega knows how to sell it, and there are pearls of wisdom amid the nastiness. - Guardian EDIT
Read More | Posted Nov 29, 2018
1/5 No Score Yet Pokémon the Movie: The Power of Us (2018) It never transcends its resemblance to a trailer for other forms of product, landing just in time for Christmas. - Guardian EDIT
Read More | Posted Nov 23, 2018
2/5 39% Hell Fest (2018) Plotkin's relentless button-pushing, coupled to the script's cringe-inducing yooftalk, instead mark Hell Fest as unmistakably the work of middle-aged execs trying to jab suggestible teenagers back into cinemas. - Guardian EDIT
Read More | Posted Nov 16, 2018
3/5 25% Thugs of Hindostan (2018) This is a film with money to burn, and it unabashedly torches each rupee before your eyes. - Guardian EDIT
Read More | Posted Nov 9, 2018
2/5 No Score Yet Squadron 303 (Dywizjon 303) (2018) Another week, another plucky recruit to our ever-swelling reserves of war movies, attempting to recreate aspects of a major global conflict on a tuppence-ha'penny budget. - Guardian EDIT
Read More | Posted Nov 7, 2018
2/5 No Score Yet Waiting for You (2017) You wait for it to get good, gripping or perhaps great, yet it remains stubbornly passable. - Guardian EDIT
Read More | Posted Oct 25, 2018
3/5 No Score Yet An Artist's Eyes (2018) A sketch of as yet unfulfilled promise. - Guardian EDIT
Read More | Posted Oct 24, 2018
2/5 37% Hunter Killer (2018) Toning down his usual act in a manner that suggests he's finally read his reviews, Butler gives it handfuls of dramatic ballast, but this vessel has been badly compromised: any interest seeps out by the frame. - Guardian EDIT
Read More | Posted Oct 19, 2018
2/5 48% Goosebumps 2: Haunted Halloween (2018) Yielding fewer jolts and giggles than its predecessor, the results play more like functionally programmed babysitting software than any work of the imagination. - Guardian EDIT
Read More | Posted Oct 17, 2018
B 99% They Shall Not Grow Old (2019) They Shall Not Grow Old arrives as clinching proof of just how far Peter Jackson has traveled in three decades. - indieWire EDIT
Read More | Posted Oct 16, 2018
3/5 No Score Yet Kler (2018) Here are sad, lonely, damaged men, clinging to their dog collars even as circumstances transform them into vices around their necks. - Guardian EDIT
Read More | Posted Oct 11, 2018
2/5 44% MFKZ (2018) Enjoyment will depend on a tolerance for that randomness teenagers apparently find hilarious. - Guardian EDIT
Read More | Posted Oct 10, 2018
1/5 No Score Yet Strangeways Here We Come (2017) Green, 50, often gives the impression of being a 15-year-old whose parents bought him a camera to prise his hands from his underpants. - Guardian EDIT
Read More | Posted Oct 4, 2018
4/5 94% Blindspotting (2018) Try and take your electrified eyes off it. It's practically 2018: The Movie. - Guardian EDIT
Read More | Posted Oct 4, 2018
3/5 No Score Yet Child of Mine (2018) We're at the start of a long-overdue conversation about stillbirth, but Rice enters it with the same tact and compassion she witnesses in those medical professionals her film elevates to the status of everyday heroes... - Guardian EDIT
Read More | Posted Oct 3, 2018
2/5 30% Redcon-1 (2018) Cheung shows promise as a shotmaker and stager of blunt-force action. If somebody cares to arm him with a script editor and production grants, we could have a discovery of sorts on our hands. - Guardian EDIT
Read More | Posted Sep 28, 2018
2/5 No Score Yet The Intent 2: The Come Up (2018) If diptych begets triptych, the ratio of swagger to basic competency will need addressing. - Guardian EDIT
Read More | Posted Sep 21, 2018
2/5 32% Loving Pablo (2018) Escobar is not without interest, sweep or colour, but bears signs of high-level, edit-suite indecision over what sort of movie it wants to be. It's an alluring product, inexactly cut. - Guardian EDIT
Read More | Posted Sep 14, 2018
2/5 13% Action Point (2018) Watching it is like travelling through a wormhole to a slightly crummier version of 2004. - Guardian EDIT
Read More | Posted Aug 30, 2018
4/5 87% Upgrade (2018) Upgrade is as fluid and exhilarating as anything the Wachowskis signed their names to in the days when they were brothers: the kind of nifty, sometimes nasty surprise our multiplexes sorely need. - Guardian EDIT
Read More | Posted Aug 30, 2018
3/5 92% Searching (2018) Mostly, Searching holds the moderate, passive appeal of watching a competent player ace a round of Minesweeper, each click bringing us closer to the desired resolution. - Guardian EDIT
Read More | Posted Aug 29, 2018
3/5 54% Yardie (2018) Ahead, its own distinctive, rewarding path; on all other sides, several hundred yards of crime-movie cliche. At most of these junctures, Elba makes the right choice. - Guardian EDIT
Read More | Posted Aug 29, 2018
2/5 7% Slender Man (2018) If you thought the bogeyman was slender, wait till you see the film. - Guardian EDIT
Read More | Posted Aug 27, 2018
4/5 60% Gold (2018) Spry, stirring entertainment... - Guardian EDIT
Read More | Posted Aug 17, 2018
2/5 73% Christopher Robin (2018) For all the expensive honey drizzled over this script, Forster's film is just unpersuasively weird for an hour, before it tails off in the softest of focuses. - Guardian EDIT
Read More | Posted Aug 17, 2018
3/5 80% The Festival (2018) The Festival's pursuit remains broadly likable, and Morris again backs it up with real comedy nous. - Guardian EDIT
Read More | Posted Aug 14, 2018
3/5 46% The Meg (2018) Not quite killer, but it's rare to see a 21st-century blockbuster having this much fun - right through to its sign-off - with its own premise. - Guardian EDIT
Read More | Posted Aug 8, 2018
2/5 17% The Darkest Minds (2018) The pieces of a potential franchise are put in play here without stakes being raised or pulses quickened. - Guardian EDIT
Read More | Posted Aug 8, 2018
3/5 91% Teen Titans Go! To the Movies (2018) It's encouraging to see someone at DC approaching this material as an opportunity for colourful fun rather than a grim matter of rights maintenance. - Guardian EDIT
Read More | Posted Aug 3, 2018
1/5 No Score Yet Breaking Through (2015) In an ideal world, any dance movie's predictable narrative manoeuvres would be disrupted by the dynamism of its set pieces, but Breaking Through fails to function even on the basic level of cobbled together talent showcase. - Guardian EDIT
Read More | Posted Jul 25, 2018
3/5 94% Spitfire (2018) This cinematic time capsule does its bit capably, even touchingly: the memories are here, for anybody who wishes to cling on to them. - Guardian EDIT
Read More | Posted Jul 18, 2018
3/5 44% In Darkness (2018) Very trashy, very silly, not unenjoyable on some basic level. - Guardian EDIT
Read More | Posted Jul 5, 2018
2/5 45% Sanju (2018) A decidedly soft and authorised-looking biopic. - Guardian EDIT
Read More | Posted Jun 29, 2018
1/5 50% Singh Is Bliing (2015) Kumar gave a laudably serious, committed performance in August's prominent flop Brothers, but his follow-up looks very much like a reversion to give-'em-what-they-want type. - Guardian EDIT
Read More | Posted Jun 27, 2018
3/5 83% Puzzle (2018) here is modest craft and genuine heart here, not to mention an eye-catching centrepiece: an actor growing more certain of herself, and more capable than ever of holding an entire picture together ... - Guardian EDIT
Read More | Posted Jun 20, 2018
2/5 14% The Little Vampire 3D (2017) Every movement within the film is programmed with an eye towards zappy distraction rather than sincere education, which explains why the final product feels as weightless as it looks artless. - Guardian EDIT
Read More | Posted May 25, 2018
1/5 16% Show Dogs (2018) Arnett has the terse air of a man doing anything he can to keep up with his alimony payments... - Guardian EDIT
Read More | Posted May 25, 2018
2/5 No Score Yet A Love That Never Dies (2017) These 75 minutes keep raising questions the directors don't have the time, distance or editorial rigour to answer satisfactorily. - Guardian EDIT
Read More | Posted May 18, 2018
3/5 No Score Yet One Man's Madness (2018) This is chiefly for the fans who crowdfunded it, but cheeky enough to have wider appeal. - Guardian EDIT
Read More | Posted May 18, 2018
2/5 56% That Good Night (2017) The human interaction, alas, remains hidebound: it's another of those scripts about a writer where the protagonist has been developed at everybody else's expense. - Guardian EDIT
Read More | Posted May 11, 2018
3/5 27% Breaking In (2018) This viewer caught himself giggling at just how well it was working. - Guardian EDIT
Read More | Posted May 10, 2018
2/5 27% Sherlock Gnomes (2018) After two films, this still looks and feels like a franchise driven more by commercial calculation than creative inspiration. - Guardian EDIT
Read More | Posted May 9, 2018
3/5 89% October (2018) Matters are steadied, just, by Sircar's quiet sensitivity towards tiny signs of life. - Guardian EDIT
Read More | Posted Apr 13, 2018
4/5 No Score Yet Cake (2018) Pakistani cinema has long struggled to match its Indian cousin's commercial reach, but this impressive debut from Asim Abbasi feels like a sound bet, and even quietly revolutionary in places. - Guardian EDIT
Read More | Posted Mar 29, 2018
3/5 No Score Yet Sajjan Singh Rangroot (2018) Batra hits most of his big emotional beats, rightly sensing there might be something stirring and striking in the sight of beturbaned warriors charging across a field in Belgium. - Guardian EDIT
Read More | Posted Mar 21, 2018
2/5 79% Dark River (2018) A muddy misstep from an otherwise notable talent. - Little White Lies EDIT
Read More | Posted Feb 22, 2018