Michael O'Sullivan
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For 1,019 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Joe
Lowest review score: 0 Tomcats
Score distribution:
1,019 movie reviews
    • 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.
    • 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."
    • 31 Metascore
    • 38 Michael O'Sullivan
    It's a performance in search of a movie.
    • 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.
    • 40 Metascore
    • 38 Michael O'Sullivan
    In attitude, if not aptitude, Robert Pattinson in Remember Me comes across like a latter-day James Dean.
    • 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.
    • 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.
    • 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.
    • 54 Metascore
    • 38 Michael O'Sullivan
    So light and airy, it almost floats away on its own breeziness.
    • 51 Metascore
    • 38 Michael O'Sullivan
    It's a highbrow romantic farce, without the laughs.
    • 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.
    • 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.
    • 52 Metascore
    • 38 Michael O'Sullivan
    The problem is, the movie doesn't really care if we are laughing with it or at it.
    • 53 Metascore
    • 38 Michael O'Sullivan
    The swells of inspirational storytelling sometimes threaten to swamp the underlying inspirational story.
    • 52 Metascore
    • 38 Michael O'Sullivan
    You can't criticize it for false advertising.
    • 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.
    • 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.
    • 62 Metascore
    • 38 Michael O'Sullivan
    A blandly middling crowd pleaser.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 38 Michael O'Sullivan
    Enjoy it, in moderation. It's your recommended weekly allowance of schlock.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 38 Michael O'Sullivan
    It's heartwarming. But the film never really takes fire.
    • 36 Metascore
    • 38 Michael O'Sullivan
    There's no sense of perspective here.
    • 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.
    • 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.
    • 44 Metascore
    • 38 Michael O'Sullivan
    I've got another portmanteau word for the movie: unbelievaballistic.
    • 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."
    • 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.
    • 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.
    • 54 Metascore
    • 38 Michael O'Sullivan
    A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
    • 68 Metascore
    • 38 Michael O'Sullivan
    If it's art, it's only mildly interesting.
    • 53 Metascore
    • 38 Michael O'Sullivan
    The hero of Sinister is almost unaccountably dumb. So, unfortunately, is the movie.
    • 45 Metascore
    • 38 Michael O'Sullivan
    It's like "A Midsummer Night's Dream" in the Catskills.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 38 Michael O'Sullivan
    Dull and repetitive, even by the standards of an already repetitive genre.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    It’s exhausting. It’s also not particularly funny or engaging.
    • 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.
    • 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.
    • 40 Metascore
    • 37 Michael O'Sullivan
    A bustling, overly busy mess.
    • 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.
    • 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?
    • 60 Metascore
    • 37 Michael O'Sullivan
    What’s missing here is something, or rather, someone, to care about.
    • 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
    3 Days to Kill feels like two very different movies, neither of which is particularly good.
    • 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.
    • 71 Metascore
    • 37 Michael O'Sullivan
    There’s some fun to be had, as long as your idea of fun includes being grossed out.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.
    • 53 Metascore
    • 37 Michael O'Sullivan
    Tusk seems to harbor no grander ambitions than to create a gross-out gag.
    • 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.
    • 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.
    • 28 Metascore
    • 37 Michael O'Sullivan
    There are no surprises here, only blandly reassuring homilies.
    • 26 Metascore
    • 37 Michael O'Sullivan
    It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
    • 34 Metascore
    • 30 Michael O'Sullivan
    What it suffers from most is the sense of offhand storytelling that lies halfway between creative laziness and cost-cutting sloppiness.
    • 27 Metascore
    • 30 Michael O'Sullivan
    I started out this journey actually liking children. By the end of the movie, I wasn't so sure.
    • 20 Metascore
    • 30 Michael O'Sullivan
    Lacks "spark."
    • 36 Metascore
    • 30 Michael O'Sullivan
    Sure, I laughed. Yes, I cried. But mostly I just wanted to throw up.
    • 44 Metascore
    • 30 Michael O'Sullivan
    It doesn't satisfy in the way a good thriller ought to.
    • 59 Metascore
    • 30 Michael O'Sullivan
    A syrupy Italian power ballad along the lines of the ones on the movie's soundtrack. Its tune is mawkish, bombastic but, in the end, not especially resonant.
    • 48 Metascore
    • 30 Michael O'Sullivan
    It starts with a bang and ends with a whimper.
    • 37 Metascore
    • 30 Michael O'Sullivan
    Loud, dumb and obnoxious.
    • 75 Metascore
    • 30 Michael O'Sullivan
    Feels like something I know is supposed to be good for me, but that I just couldn't stomach.
    • 57 Metascore
    • 30 Michael O'Sullivan
    The underwhelming, only fitfully amusing movie left me hungry for more.
    • 66 Metascore
    • 30 Michael O'Sullivan
    The girls in 'Traveling Pants' are only mannequins wearing someone else's clothes. They don't get inside your head, let alone your heart.
    • 27 Metascore
    • 30 Michael O'Sullivan
    A series of cutesy but flat-footed jokes leading up to a foregone romantic conclusion.
    • 47 Metascore
    • 30 Michael O'Sullivan
    For anyone old enough to cross the street without holding hands ... the movie's a reconditioned lemon trying hard to hide its flaws.
    • 36 Metascore
    • 30 Michael O'Sullivan
    The movie and its star just aren't that funny.
    • 35 Metascore
    • 30 Michael O'Sullivan
    The dialogue is often drowned out by engine noise.
    • 23 Metascore
    • 30 Michael O'Sullivan
    It's not Deuce's satisfied clientele, but the audience, that gets the shaft.
    • 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.
    • 51 Metascore
    • 30 Michael O'Sullivan
    Not terrible so much as terminally silly.
    • 29 Metascore
    • 30 Michael O'Sullivan
    Tailored for the readership of Teen People magazine and about as thought-provoking as the average 500-word celebrity profile.
    • 35 Metascore
    • 30 Michael O'Sullivan
    The movie based on Young's 2002 memoir is a good bit blunter. One early laugh comes at the expense of a pig urinating on a woman's feet at the BAFTA awards, the British equivalent of the Oscars. And it doesn't get much better, or much smarter, than that.
    • 29 Metascore
    • 30 Michael O'Sullivan
    Seriously, though, watching New in Town left me feeling as pained as Zellweger, playing Lucy Hill, looks.
    • 34 Metascore
    • 30 Michael O'Sullivan
    A lowbrow, only fitfully amusing comedy.
    • 32 Metascore
    • 30 Michael O'Sullivan
    This time-travel scenario is by now shopworn, and the normally riotous Lawrence, a manic and gifted clown, is hamstrung in his efforts to eke humor from the anemic script.
    • 66 Metascore
    • 30 Michael O'Sullivan
    One overly busy (not to mention shopworn) story, which regurgitates everything from H.G. Wells's "The Island of Dr. Moreau" to the herky-jerky monsters of Ray Harryhausen to James Bond to "The Mummy."
    • 25 Metascore
    • 30 Michael O'Sullivan
    Really two movies in one, and there's not enough breathing room for both of them.
    • 38 Metascore
    • 30 Michael O'Sullivan
    Although filled with fey, flamboyant characters, the stereotype of the gay hairdresser seems to have been meticulously expunged.
    • 61 Metascore
    • 30 Michael O'Sullivan
    Unfortunately, the experience of actually watching the movie is less compelling than the circumstances of its making.
    • 30 Metascore
    • 30 Michael O'Sullivan
    Will satisfy only those who can't tell the difference between the good, the bad and the ugly.
    • 42 Metascore
    • 30 Michael O'Sullivan
    Despite its impeccable acting and subtle backdrop of the Sept. 11, 2001, attacks, The Event lets its message overwhelm its emotion.
    • 58 Metascore
    • 30 Michael O'Sullivan
    Easy on the eyes and hard on the head, Suriyothai is absolutely unaffecting where it matters most, in the heart.