Tara Brady

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The Irish Times
For 554 reviews, this critic has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 6.5 points higher than other critics. (0-100 point scale)

Tara Brady's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 Prey
Lowest review score: 20 No Hard Feelings
Score distribution:
  1. Positive: 348 out of 554
  2. Mixed: 203 out of 554
  3. Negative: 3 out of 554
554 movie reviews
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    • 43 Metascore
    • 60 Tara Brady
    Peter Rabbit 2: The Runaway
    Will Gluck, who presided over the disastrous 2014 adaptation of Annie and the misfiring comedies Friends with Benefits and Easy A, makes for a competent presence in the director’s chair. It’s the human stars, however, who truly shine.
    • 43 Metascore
    • 40 Tara Brady
    Maggie Moore(s)
    Maintaining a giddy tone through murder and mayhem is a tricky business, even if the Coen brothers can, on occasion, make it look easy. Maggie Moores(s) is way off the pace, however.
    • 43 Metascore
    • 60 Tara Brady
    Antebellum
    The big narrative rug-pull isn’t quite as smooth as it ought to be, but there’s plenty to admire here, including Monáe’s expressive eyes, Pedro Luque Briozzo’s unsettling camerawork, and a thrillingly vicious turn by Jena Malone.
    • 43 Metascore
    • 40 Tara Brady
    A Big Bold Beautiful Journey
    This messy romantic phantasmagoria is a hinterland for no one: a musical without musical numbers, a romcom without comedy. Sincerity saves it from collapse.
    • 43 Metascore
    • 40 Tara Brady
    Scoob!
    Frustratingly, there are some good jokes and ideas buried in the aesthetically displeasing Scoob!.
    • 42 Metascore
    • 60 Tara Brady
    Opus
    Edebiri works hard, but her notebook-clutching Nancy Drew asks dimwitted questions, even after the guests start to “disappear”.
    • 41 Metascore
    • 40 Tara Brady
    Our Little Secret
    This dull-witted, soundstage-bound Christmas romance has festive trimmings and a clockwork plot.
    • 41 Metascore
    • 60 Tara Brady
    Padre Pio
    The sins and injustices of the outside world find terrible expression in St Pio of Pietrelcina’s body and imperfect expression in Ferrara’s 22nd feature.
    • 41 Metascore
    • 40 Tara Brady
    The Grudge
    Potentially interesting religious and philosophical dimensions – novenas in the dashboard, Jesus on the telly, the notion that the ghost evidences an afterlife – are swiftly discarded by this wholly redundant reboot.
    • 40 Metascore
    • 60 Tara Brady
    Here Today
    At times, Here Today feels like looking at a tableau vivant or courtly fool antics. No matter: Crystal is still the jester to beat.
    • 40 Metascore
    • 60 Tara Brady
    Bliss
    Expect head-scratching, some non-sequiturs and lots of quirks and Bliss will mostly entertain and consistently baffle.
    • 39 Metascore
    • 40 Tara Brady
    The Boss Baby: Family Business
    We’ll say one thing for Boss Baby 2: its untidy, unpredictable, and unmannerly form does, indeed, evoke the exhausting, mucky business of baby tending, albeit with nothing like the familial rewards.
    • 39 Metascore
    • 60 Tara Brady
    Ella McCay
    For all that structural uncertainty, Ella McCay is difficult to dislike. It’s old-fashioned and undeniably heartfelt. There’s a compelling sweetness in its rooting for good public service, and a refreshing optimism that feels almost radical in 2025.
    • 39 Metascore
    • 40 Tara Brady
    Michael
    Backed by the kind of production budget normally reserved for resurrected dinosaurs running amok in a theme park, this long-gestating biopic of Michael Jackson offers two solid hours of cosplay karaoke.
    • 37 Metascore
    • 40 Tara Brady
    The Addams Family 2
    Two directors and four credited screenwriters signed off on a lazy screenplay that a starry cast and an Oscar-winner can do little to enliven.
    • 37 Metascore
    • 40 Tara Brady
    The Super Mario Galaxy Movie
    The dynamic between Bowser and his son, and the Frozen-like sisterhood between Peach and Rosalina, are jettisoned as quickly as they are introduced. Subplots remain half-formed. New additions – especially Glen Powell’s inexplicably underused Fox McCloud – barely register. The abrupt conclusion feels like an abandonment. At least it’s short.
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