Kevin Maher

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The Times
For 195 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 5.2 points lower than other critics. (0-100 point scale)

Kevin Maher's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Pride & Prejudice
Lowest review score: 0 The Super Mario Galaxy Movie
Score distribution:
  1. Positive: 88 out of 195
  2. Mixed: 86 out of 195
  3. Negative: 21 out of 195
195 movie reviews
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    • 37 Metascore
    • 40 Kevin Maher
    Four Letters of Love
    It doesn’t help that the director, Polly Steele (The Mountain Within Me), has seemingly chosen to fill the narrative longueurs with endless drone shots of the Irish countryside. Pretty, yes. But they can only offer so much damage limitation.
    • 54 Metascore
    • 40 Kevin Maher
    Goodbye June
    The narrative arrives in clumsy self-contained chunks that don’t always gel.
    • 56 Metascore
    • 40 Kevin Maher
    Nightbitch
    The movie treads narrative water for the entirety of its running time.
    • 69 Metascore
    • 40 Kevin Maher
    Rumours
    The film is fun for a while, and it’s certainly the most commercial project that the experimental Canadian director Guy Maddin (Twilight of the Ice Nymphs) has delivered. But it’s also pretty tedious and not half as smart as it might have been. Plus it’s very lazy, and smug.
    • 39 Metascore
    • 40 Kevin Maher
    Ella McCay
    Mackey is fine but wasted, and still clearly anticipating a role to top her astounding Emily from 2022. The political messaging, meanwhile, is grimly bromidic.
    • 78 Metascore
    • 40 Kevin Maher
    Blue Moon
    One of the most committed performances of Ethan Hawke’s career is cruelly undercut by some ridiculous “shrinking” tricks in this biopic about the Broadway songwriter Lorenz Hart.
    • 61 Metascore
    • 40 Kevin Maher
    Two Women
    The film, despite themes of empowerment, is really a strange cinematic palimpsest. Scratch the glossy feminist makeover to reveal underneath a still smirking, leering, chauvinistic pig.
    • 61 Metascore
    • 40 Kevin Maher
    The Uninvited
    The Uninvited is similarly haphazard and, even by the film’s shamefully saccharine finale, has little to say other than “life is short, and making movies sucks.
    • 55 Metascore
    • 40 Kevin Maher
    Wuthering Heights
    Yes, there is no person or inanimate object safe in a film where Fennell’s main directorial note to Elordi seems to have been, “Great, but can you also lick it?”
    • 58 Metascore
    • 40 Kevin Maher
    Eternity
    Eternity might have worked if the three leads conveyed anything beyond jaded inertia in each other’s company. They are supposed to be consumed by a love so passionate it propels them into adventures beyond the grave. They look, instead, as if they could barely get out of their trailers.
    • 38 Metascore
    • 40 Kevin Maher
    Oh. What. Fun.
    You know that your comedy is in crisis when you’ve substituted actual jokes for the grating rhythms of an oompah band. Still, Pfeiffer remains charismatic till the end. She deserved better.
    • 41 Metascore
    • 40 Kevin Maher
    Fountain of Youth
    This Indiana Jones knock-off is staggeringly slapdash.
    • 53 Metascore
    • 40 Kevin Maher
    Anemone
    It’s mostly a dirge, but the younger Day-Lewis has an artful eye and his indecently talented dad is clearly crying out for better material.
    • 68 Metascore
    • 40 Kevin Maher
    Superman
    There are glimmers of intrigue, as well as quirks and curios.
    • 49 Metascore
    • 40 Kevin Maher
    Reminders of Him
    The Colleen Hoover school of social realism is back — and this time it’s more idiotic than ever.
    • 47 Metascore
    • 40 Kevin Maher
    Lee Cronin's The Mummy
    It looks great, and Cronin is a gifted stylist. But, as with his debut The Hole in the Ground, there’s too much slavish imitation and homage here. His greatest accomplishment is the downtime family scenes. They throb with easy realism. He should dump horror and do drama instead.
    • 49 Metascore
    • 40 Kevin Maher
    How to Make a Killing
    There are some mildly diverting moments, and it’s pleasing to see Ed Harris emerge later on in a significant set piece. Like everything else in this ill-judged effort, his appearance is a wasted opportunity.
    • 79 Metascore
    • 40 Kevin Maher
    One to One: John & Yoko
    It is highly likely that Macdonald is making explicit connections between the US military industrial complex and the system of consumer-based capitalism that supposedly dulls the masses and funds the wars. But, sheesh, does it have to be such a drag?
    • 52 Metascore
    • 40 Kevin Maher
    A Working Man
    It’s sloppily directed by David Ayer (Sabotage) with a depressing lack of urgency and a sense that everything here has been done better, more efficiently and with more emotional engagement before.
    • tbd Metascore
    • 40 Kevin Maher
    The Comeback Trail
    A witty premise and a muscular cast are cruelly betrayed by this flaccid Tinseltown satire that features Robert De Niro delivering one of the most wretchedly cartoonish performances of his career.
    • 58 Metascore
    • 40 Kevin Maher
    Apex
    This is a mildly distracting guilty pleasure romp that is undone by its own casting crisis.
    • 62 Metascore
    • 40 Kevin Maher
    Beetlejuice Beetlejuice
    Keaton commits fully to the puerility demanded by the title role. And yet the mania feels consistently forced. The fun is diluted.
    • 41 Metascore
    • 40 Kevin Maher
    Leave One Day
    There’s little dramatic jeopardy here and certainly no danger. Instead, by the closing credits Cécile has barely changed, and the musical around her has barely registered. Sorry, the film with songs in it.
    • 63 Metascore
    • 40 Kevin Maher
    Maria
    This is a film fed by, and consistently cutting to, the operas that defined its subject. Yet there is not a single moment that is emotionally operatic. It is wilfully, wearily flat.
    • 34 Metascore
    • 20 Kevin Maher
    Love Hurts
    It’s badly shot, full of pointless jeopardy-free action sequences, with a flat-lining story and airless characters poorly performed by floundering actors at their lowest ebb. The search continues for DeBose.
    • 39 Metascore
    • 20 Kevin Maher
    Michael
    This is the quintessential Trump-era film, where difficult truths are met with bold-faced mendacity and where the director Antoine Fuqua (Training Day) and the screenwriter John Logan (Gladiator) have met the challenges of the Jackson story by simply drowning it in quasi-Christian, yes, bullshit.
    • 42 Metascore
    • 20 Kevin Maher
    Opus
    Ayo Edebiri, the award-winning star of The Bear, is on typically charismatic form here, delivering droll reaction shots and angsty frowns aplenty on a one-woman mission to rescue this extraordinarily toothless celebrity satire and half-cocked horror.
    • 30 Metascore
    • 20 Kevin Maher
    The Electric State
    The look is mid-period Transformers. The dramatic tension non-existent. And the performances uniformly weak. This is top-dollar tedium.
    • 64 Metascore
    • 20 Kevin Maher
    Rental Family
    Yes, it’s just awful. Fake, puke-inducing emotional dishonesty of the most absurd kind. Nothing here makes sense.
    • 46 Metascore
    • 20 Kevin Maher
    Mortal Kombat II
    There is seemingly an ironic undertow to Urban’s character. He’s from “the Earthrealm”, aka Earth, and is a washed-up former action star in the Chuck Norris mould. It’s supposed to be a clever wink to the audience and a quirky acknowledgement that this is all pretty awful, right? As if joking about the stench of a sewer will somehow make it smell sweeter.
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