Michael O'Sullivan
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For 1,091 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 2.1 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Song of the Sea
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,091 movie reviews
    • 57 Metascore
    • 38 Michael O'Sullivan
    There's something dead and rotting at the center of Mama, and it isn't the ghost of the woman who lends the horror film its title.
    • 62 Metascore
    • 38 Michael O'Sullivan
    A blandly middling crowd pleaser.
    • 36 Metascore
    • 38 Michael O'Sullivan
    Dull and repetitive, even by the standards of an already repetitive genre.
    • 68 Metascore
    • 38 Michael O'Sullivan
    If it's art, it's only mildly interesting.
    • 31 Metascore
    • 38 Michael O'Sullivan
    It's a performance in search of a movie.
    • 36 Metascore
    • 38 Michael O'Sullivan
    There's no sense of perspective here.
    • 57 Metascore
    • 38 Michael O'Sullivan
    This "Holmes" is just about as silly as it awesome. At times, Ritchie and company try so hard to make sure this isn't your father's "Sherlock Holmes" that it comes across as, well, cartoonish.
    • 48 Metascore
    • 38 Michael O'Sullivan
    Enjoy it, in moderation. It's your recommended weekly allowance of schlock.
    • 54 Metascore
    • 38 Michael O'Sullivan
    When all is said and done, Mike proves to be not only peripheral to the main thrust of the movie, but a drag on its momentum.
    • 54 Metascore
    • 38 Michael O'Sullivan
    So light and airy, it almost floats away on its own breeziness.
    • 33 Metascore
    • 38 Michael O'Sullivan
    There Be Dragons is like fine wine, served in a Big Gulp cup. A little is very nice. A lot is way too much.
    • 42 Metascore
    • 38 Michael O'Sullivan
    It's just that Pattinson's performance is so enervated that his Georges Duroy comes across as something of a cipher. He's not quite alive, yet also clearly not dead, given the amount of sex he has. He's undead, or at least uninteresting.
    • 45 Metascore
    • 38 Michael O'Sullivan
    It's like "A Midsummer Night's Dream" in the Catskills.
    • 61 Metascore
    • 38 Michael O'Sullivan
    Blackthorn feels less like a proper sequel to "Butch Cassidy and the Sundance Kid," which it purports to be, than a coattail rider.
    • 56 Metascore
    • 38 Michael O'Sullivan
    It's heartwarming. But the film never really takes fire.
    • 57 Metascore
    • 38 Michael O'Sullivan
    In the end, Daybreakers doesn't really want to make anyone think too hard. If that were to happen, they might stop to wonder why all the human survivors out there hiding in fear of their lives don't just become garlic farmers and call it a day.
    • 39 Metascore
    • 38 Michael O'Sullivan
    Planet 51 is cute, but it's no "Shrek."
    • 53 Metascore
    • 38 Michael O'Sullivan
    The swells of inspirational storytelling sometimes threaten to swamp the underlying inspirational story.
    • 51 Metascore
    • 38 Michael O'Sullivan
    It's a highbrow romantic farce, without the laughs.
    • 52 Metascore
    • 38 Michael O'Sullivan
    The problem is, the movie doesn't really care if we are laughing with it or at it.
    • 32 Metascore
    • 38 Michael O'Sullivan
    There's a nagging question at the heart of Chernobyl Diaries. It isn't what, or who, is stalking these kids. After awhile, the answer becomes apparent, leading to a denouement that, while mildly exciting, feels like a ride you've been on before.
    • 52 Metascore
    • 38 Michael O'Sullivan
    For those with no vested interest in this protracted and supernatural soap opera, but who do care about cinema, The Twilight Saga: Breaking Dawn -- Part 2 will be, unsurprisingly, a silly and somewhat cheesily made waste of time.
    • 53 Metascore
    • 38 Michael O'Sullivan
    The hero of Sinister is almost unaccountably dumb. So, unfortunately, is the movie.
    • 61 Metascore
    • 38 Michael O'Sullivan
    The film's real problem is that it can't seem to make up its mind about whether it wants to frighten us or make us laugh.
    • 63 Metascore
    • 38 Michael O'Sullivan
    The argument in Amigo is so heavy-handed - and its execution so crude - that by the time the movie winds its way to a predictable but uninvolving conclusion, nobody will be listening anymore.
    • 37 Metascore
    • 38 Michael O'Sullivan
    There's so much pluck and gumption on the screen you can smell it. Flesh and blood? Not so much.
    • 49 Metascore
    • 38 Michael O'Sullivan
    Here's a better title for Griff the Invisible, a well-meaning but unengaging love story about two 20-something misfits: "Griff the Implausible."
    • 72 Metascore
    • 38 Michael O'Sullivan
    Worse yet is the insincerity of the film's central performances. Too cool by half, Glodell, Wiseman and Dawson speak every line as if it had air quotes around it. In fact, the entire movie feels as though it has air quotes around it.
    • 33 Metascore
    • 38 Michael O'Sullivan
    Jonah Hex may not be the longest 81 minutes you ever spend, but it might well be the most tedious.
    • 44 Metascore
    • 38 Michael O'Sullivan
    I've got another portmanteau word for the movie: unbelievaballistic.
    • 82 Metascore
    • 38 Michael O'Sullivan
    The story is maddeningly oblique and incomplete, despite paying what at times feels like excruciating attention to the minutiae of a dying love affair's final hours.
    • 46 Metascore
    • 38 Michael O'Sullivan
    A cautionary environmental tale with a thin veneer of entertainment on top. With its cotton-candy-colored palette of orange, pink and purple truffula trees, it looks like a bowl of fuzzy Froot Loops. But it goes down like an order of oatmeal. Sure, it's good for you. It's just not terribly good.
    • 28 Metascore
    • 38 Michael O'Sullivan
    D'Souza makes it all sound almost plausible, but only if you're predisposed to believe that Obama hates America. It's bashing, all right, but with a velvet-gloved fist.
    • 46 Metascore
    • 38 Michael O'Sullivan
    As Balthazar, Cage doesn't disappoint. He's just manic enough to keep the character from becoming too predictable.
    • 49 Metascore
    • 38 Michael O'Sullivan
    An aggressively crass - and not especially funny - trip down memory lane, an attempt to recapture the sweetly ribald magic of the earlier film. As anyone who's ever attended a class reunion can tell you, it almost never works.
    • 54 Metascore
    • 38 Michael O'Sullivan
    A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
    • 52 Metascore
    • 38 Michael O'Sullivan
    You can't criticize it for false advertising.
    • 37 Metascore
    • 38 Michael O'Sullivan
    Charlie St. Cloud, like its star Zac Efron, is a gorgeous, unblemished thing. Both would be much improved with a tiny flaw or two.
    • 43 Metascore
    • 38 Michael O'Sullivan
    Boasting a plot that's heavy on the magical shenanigans, this pretty and poetic adaptation of Shakespeare's play is a fantasia for the smart set, a literary novelty for anyone who wants to have fun without giving up food for thought. On that score, at least, it delivers, in spades.
    • 50 Metascore
    • 38 Michael O'Sullivan
    The acting by Binoche and her two young co-stars is more nuanced than the film deserves. They bring a rich expressiveness and sense of complex inner life to their characters. It's the movie - and its placard-sized message - that is more two-dimensional.
    • 63 Metascore
    • 38 Michael O'Sullivan
    No ordinary horror film. If it were, it might be a bit better than it is. As the movie stands, it's a less-than-compelling relationship drama, with aliens.
    • 58 Metascore
    • 38 Michael O'Sullivan
    This third outing climaxes with a dark and melodramatic twist that, while adding a layer of nuance and back story that the previous two films never had, also feels wildly out of sync with its audience's expectations.
    • 51 Metascore
    • 38 Michael O'Sullivan
    You can't fault the filmmakers for reshaping a diary into a cohesive film. You can however, fault them for taking one of the great antiheroes in preteen literature and turning him into, well, an even wimpier kid.
    • 40 Metascore
    • 38 Michael O'Sullivan
    In attitude, if not aptitude, Robert Pattinson in Remember Me comes across like a latter-day James Dean.
    • 24 Metascore
    • 37 Michael O'Sullivan
    The air inside the pyramid isn’t the only thing that’s stale in this ludicrous yet mildly likable horror film.
    • 63 Metascore
    • 37 Michael O'Sullivan
    Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
    • 40 Metascore
    • 37 Michael O'Sullivan
    The question at the heart of Deliver Us From Evil, a garden-variety serial-killer thriller tarted up as an exorcism drama, is not whether good will triumph over evil. Rather, it’s this: What in God’s name possesses good actors to make dreck like this?
    • 40 Metascore
    • 37 Michael O'Sullivan
    3 Days to Kill feels like two very different movies, neither of which is particularly good.
    • 44 Metascore
    • 37 Michael O'Sullivan
    The film is so thick with Jobs’s career highlights and lowlights that there’s little room for insights.
    • 54 Metascore
    • 37 Michael O'Sullivan
    Weber’s main point — that bullies are often victims of bullying themselves — gets lost in a tsunami of sorrow and sadism.
    • 60 Metascore
    • 37 Michael O'Sullivan
    What’s missing here is something, or rather, someone, to care about.
    • 36 Metascore
    • 37 Michael O'Sullivan
    So maybe some of this is hilarious. Heck, maybe all of it is. It will not be everyone’s cup of tea, and it was not mine.
    • 40 Metascore
    • 37 Michael O'Sullivan
    Visually, Brick Mansions is a duller and more conventional film than “District B13,“ which was, if nothing else, a sourball-flavored form of eye candy.
    • 41 Metascore
    • 37 Michael O'Sullivan
    It’s exhausting. It’s also not particularly funny or engaging.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Ironically, When the Game Stands Tall isn’t about keeping gridiron glory in perspective, but about blowing it out of proportion.
    • 71 Metascore
    • 37 Michael O'Sullivan
    There’s some fun to be had, as long as your idea of fun includes being grossed out.
    • 58 Metascore
    • 37 Michael O'Sullivan
    Stoker plays out like a Kabuki “Macbeth”: gallons of style slathered on a story you already know by heart.
    • 46 Metascore
    • 37 Michael O'Sullivan
    Heedless of purpose, Horns charges full speed ahead anyway, ramming its high-concept hooey down your throat until the only heat you feel is from indigestion.
    • 26 Metascore
    • 37 Michael O'Sullivan
    It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Despite Blomkamp’s efforts to make some kind of commentary about the human soul, which the auteur bolsters with his trademark social consciousness — a tone of preachiness that, after three films, has worn out its welcome — the movie exhibits precious little humanity.
    • 30 Metascore
    • 37 Michael O'Sullivan
    Although Kill Me Three Times includes a few murders, it does nothing to justify its title. Mostly, it just shoots itself in the foot, over and over.
    • 58 Metascore
    • 37 Michael O'Sullivan
    Clocks in at close to two hours. It feels much longer. By comparison, Malick’s World War II epic “The Thin Red Line” tipped the scales at a whopping 170 minutes. But at least that 1998 film had people shooting at each other. There’s no such excitement here.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.
    • 51 Metascore
    • 37 Michael O'Sullivan
    Bening and Harris are great actors, and they fill their roles as completely as they can, given the limitations of the soggy and implausible script by Matthew McDuffie and director Arie Posin.
    • 33 Metascore
    • 37 Michael O'Sullivan
    There are goofy, primal pleasures to be had in the first two-thirds of the film. But Beyond the Reach exceeds even its humble grasp in the final act, collapsing in a clatter of blockheaded manhunter-movie cliches. Crazy is one thing, but dumb is unforgivable.
    • 53 Metascore
    • 37 Michael O'Sullivan
    The Signal has visual style to burn. And it takes good advantage of the current state of paranoia arising from our surveillance culture and the pervasive mistrust in government. On paper, this sounds like a good formula. If handled well, it could really pay off.
    • 42 Metascore
    • 37 Michael O'Sullivan
    This sharp left turn takes the films’ mythology in strange and not entirely satisfying new directions, including a crazy time-travel element.
    • 30 Metascore
    • 37 Michael O'Sullivan
    Little Boy is a as phony as a game of three-card monte.
    • 76 Metascore
    • 37 Michael O'Sullivan
    The film is probably of interest only to those viewers who, like Gondry himself apparently, already have an obsession with Chomsky.
    • 47 Metascore
    • 37 Michael O'Sullivan
    The aptly subtitled Night at the Museum: Secret of the Tomb is a blast of dead air and mummified humor.
    • 42 Metascore
    • 37 Michael O'Sullivan
    The real trouble with Transcendence is that it just isn’t all that scary — at least not in the way that it wants to be.
    • 28 Metascore
    • 37 Michael O'Sullivan
    See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
    • 55 Metascore
    • 37 Michael O'Sullivan
    Capital is too cynical to ever really suggest that redemption is possible. Not that anyone watching will even care.
    • 52 Metascore
    • 37 Michael O'Sullivan
    If for some reason you find yourself in a theater watching the martial arts adventure Man of Tai Chi...feel free to take a nap during the non-fight sequences.
    • 55 Metascore
    • 37 Michael O'Sullivan
    Tusk seems to harbor no grander ambitions than to create a gross-out gag.
    • 32 Metascore
    • 37 Michael O'Sullivan
    Watching Addicted is like eating Cheese Whiz straight from the jar. There’s no nutritional value. It’s kind of embarrassing. But it does satisfy a base craving for cheap, immediate sensation.
    • 51 Metascore
    • 37 Michael O'Sullivan
    Too scary for very young children, yet too silly for most older fans of director Bryan Singer’s earlier forays into the Superman and X-Men franchises, “Jack” seems designed to appeal to a very narrow, and possibly illusory, demographic: the mature moppet.
    • 29 Metascore
    • 37 Michael O'Sullivan
    There are no surprises here, only blandly reassuring homilies.
    • 52 Metascore
    • 37 Michael O'Sullivan
    Rudderless is a competent, well-acted melodrama, yet in scope and ambition it has the modest and serviceable scale of the small, not silver, screen.
    • 40 Metascore
    • 37 Michael O'Sullivan
    A bustling, overly busy mess.
    • 40 Metascore
    • 37 Michael O'Sullivan
    The film isn’t awful. There are moments of handsome cinematography and occasional effects that both frighten and impress.
    • 30 Metascore
    • 37 Michael O'Sullivan
    The Boy Next Door plays best as unintentional comedy.
    • 35 Metascore
    • 37 Michael O'Sullivan
    It’s a mushy and unsuspenseful melodrama.
    • 59 Metascore
    • 37 Michael O'Sullivan
    Cute without being especially clever, Warm Bodies is almost as pallid and as brain-dead as its zombie antihero.
    • 38 Metascore
    • 30 Michael O'Sullivan
    Although filled with fey, flamboyant characters, the stereotype of the gay hairdresser seems to have been meticulously expunged.
    • 30 Metascore
    • 30 Michael O'Sullivan
    Less a movie than a meticulously, tediously accurate Civil War reenactment committed to celluloid.
    • 34 Metascore
    • 30 Michael O'Sullivan
    A lowbrow, only fitfully amusing comedy.
    • 46 Metascore
    • 30 Michael O'Sullivan
    An unfunny comedy by Tony Vitale that is enacted not by fleshed-out characters but by hackneyed, two-dimensional stereotypes. There’re so many sexual and ethnic caricatures, it’s hard to know which is most offensive.
    • 46 Metascore
    • 30 Michael O'Sullivan
    No movie this stupid should need a plot synopsis this complicated.
    • 36 Metascore
    • 30 Michael O'Sullivan
    The film is so anemic you should probably order iron supplements with your popcorn, its plot so predictable it makes falling dominoes seem like a white-knuckle thrill ride.
    • 39 Metascore
    • 30 Michael O'Sullivan
    Rated PG, which must stand for "particularly gullible," it's "Raiders of the Lost Ark" for people who slept through American history class.
    • 51 Metascore
    • 30 Michael O'Sullivan
    It's just so darn annoying to watch this attractive, seemingly smart woman throw her life away for some (admittedly rather hot) sex in the greenhouse.
    • 41 Metascore
    • 30 Michael O'Sullivan
    With the exception of a few dazzling special effects and a digitally enhanced camera move or two... it's also a towering bore.
    • 57 Metascore
    • 30 Michael O'Sullivan
    Made me feel like a Christmas goose being fattened for slaughter. Its force-fed diet of whimsy cloyed long before the eagerly anticipated romantic payoff arrived to put me out of my misery.
    • Washington Post
    • 45 Metascore
    • 30 Michael O'Sullivan
    So rich in processed sugar, canned sentiment and schmaltz, I thought I was going to throw up.
    • 60 Metascore
    • 30 Michael O'Sullivan
    Torpid, syrupy melodrama from the Chinese director of 1993's "Farewell My Concubine."
    • 30 Metascore
    • 30 Michael O'Sullivan
    Will satisfy only those who can't tell the difference between the good, the bad and the ugly.
    • 63 Metascore
    • 30 Michael O'Sullivan
    The film's maudlin focus on the young woman's infirmity and her naive dreams play like the worst kind of Hollywood heart-string plucking.
    • 75 Metascore
    • 30 Michael O'Sullivan
    While the younger Van Peebles certainly looks the part, Baadasssss! never feels like anything more than kids playing dress-up.
    • 51 Metascore
    • 30 Michael O'Sullivan
    What's troubling about "My Mother" is not the way the sisters respond to the news, but the way that Paris and Fejerman have opted to make lighthearted comic fodder out of the daughters' responses.

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