Michael O'Sullivan

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For 1,132 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 2.4 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Night Moves
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,132 movie reviews
    • 71 Metascore
    • 60 Michael O'Sullivan
    Cares not a whit for such arbitrary concepts as justice, crime or punishment. It understands the relativism of right and wrong and takes a kind of perverse pleasure in reminding us that there are some things we'll never know.
    • 52 Metascore
    • 60 Michael O'Sullivan
    Despite the unforced humor and honesty in the performances of its young and talented cast, The Wood spends too much time wallowing in arrested adolescence to make you feel you've traveled anywhere.
    • 40 Metascore
    • 60 Michael O'Sullivan
    Although Monkeybone will undoubtedly make you laugh at its slapstick highjinks, the irony is that for a movie that's ultimately about soul, that's the one commodity that's in precious short supply up on the screen.
    • 55 Metascore
    • 60 Michael O'Sullivan
    A generally well-made tale of humor and hard luck.
    • 70 Metascore
    • 60 Michael O'Sullivan
    Charming but slight comedy.
    • 74 Metascore
    • 60 Michael O'Sullivan
    There's actually a lot going on in this little movie, and first-time feature director Stephen Daldry, turning his talents from the theater, handles all of it deftly.
    • 68 Metascore
    • 60 Michael O'Sullivan
    A jaundiced view of litigation, however authentic, is not necessarily the stuff of great drama, even of the legal-thriller variety, which by definition is confined to a claustrophobic courtroom.
    • 34 Metascore
    • 60 Michael O'Sullivan
    Where Town and Country gets really good and weird – and I do mean good – is only after about an hour into it in deepest, darkest Idaho.
    • 65 Metascore
    • 60 Michael O'Sullivan
    One half of a very funny movie, and half a funny movie is better than none.
    • 77 Metascore
    • 60 Michael O'Sullivan
    The kind of stunning and contentious work of art that will leave a lot of folks speechless.
    • 58 Metascore
    • 60 Michael O'Sullivan
    Overwhelmingly predictable despite its cute surprise ending, Tortilla Soup is a filling but unoriginal dish.
    • 61 Metascore
    • 60 Michael O'Sullivan
    A mediocre production that nevertheless will strike a deep and resonant chord with viewers.
    • 47 Metascore
    • 60 Michael O'Sullivan
    Sappy but sweet B-ball Cinderella story that succeeds thanks largely to the outsize charm of its 4-foot-8-inch, corn-rowed protagonist.
    • 60 Metascore
    • 60 Michael O'Sullivan
    It is also, despite the all-too-rare focus on the Filipino American community, a creakily familiar take on an age-old family dynamic.
    • 69 Metascore
    • 60 Michael O'Sullivan
    Fitfully amusing and ultimately kind of heartwarming in a twisted sort of way
    • 49 Metascore
    • 60 Michael O'Sullivan
    It's a pretty compelling yarn, not to mention full of pretty pictures, and yet it could be so much more than that.
    • 60 Metascore
    • 60 Michael O'Sullivan
    Charming but slight.
    • 76 Metascore
    • 60 Michael O'Sullivan
    While not exactly a cop-out, Virgin may leave some viewers who crave traditional closure with the same hollow ache described by the narrator as follows: "What lingered after them was not life but the most trivial list of mundane facts."
    • 30 Metascore
    • 60 Michael O'Sullivan
    A considerable cut above the crop of recent features by other 'SNL' alums.
    • Washington Post
    • 71 Metascore
    • 60 Michael O'Sullivan
    The smart but slight film implodes under the weight of its own "excessive linguistic pressure."
    • 46 Metascore
    • 60 Michael O'Sullivan
    That script – co-written by Terry Hayes and director Brian Helgeland – is almost too noir for its own good at times, but Gibson somehow manages to pull its implausibility off.
    • 45 Metascore
    • 60 Michael O'Sullivan
    Blade's stomach-turning special effects, bone-crunching martial arts and cynical humor will more than satisfy any action-film addict's need for a fix of eye-popping escapist adrenaline.
    • 29 Metascore
    • 60 Michael O'Sullivan
    It's a lot more tightly focused than the first outing, and for fans of the demented comedy of Elliott and Cross, or the thespian chops of Woods (a last-minute replacement for an ailing Marlon Brando), it's worth putting up with humor that's the filmic equivalent of a big, spit-soaked raspberry.
    • 38 Metascore
    • 60 Michael O'Sullivan
    A tad preachy and more than a little bit sanctimonious.
    • 41 Metascore
    • 60 Michael O'Sullivan
    It is this sense of real life blurring with make-believe that Allen's film is really playing with, like a kitten toying with a scared mouse. Back and forth he bats the subject, moving between reality, illusion and the imitation of reality with a deft touch that may bruise but never kills.
    • 76 Metascore
    • 60 Michael O'Sullivan
    A well-crafted story with a unique voice. But its literary gifts are outweighed by its pictorial prosaicness. Dimming the screen in every shot is the unmistakable shadow of the page.
    • 55 Metascore
    • 60 Michael O'Sullivan
    What modest pleasure the film affords is largely thanks to the charisma of its genial stars.
    • 43 Metascore
    • 60 Michael O'Sullivan
    Meet Joe Black is Hopkins's movie and, despite the film's unnecessary length, his quiet and dignified performance almost carries the ball across the finish line.
    • 35 Metascore
    • 60 Michael O'Sullivan
    It's no worse than any number of other cookie-cutter slasher flicks geared for the slightly post-pubescent market.
    • 65 Metascore
    • 60 Michael O'Sullivan
    In trying to compose a poetic love letter to a time of liberation and freedom, Haynes has merely conjured up memories of druggy excess, egotism and tight trousers. The only mementos worth saving from the experience are available on the soundtrack.
    • 70 Metascore
    • 60 Michael O'Sullivan
    If these repugnant people were really your friends and neighbors, your time would be more profitably spent reading the real estate listings than the movie reviews. But for 1 1/2 hours in a darkened theater, the derailment of their unhealthy emotions makes for one compulsively watchable train wreck.
    • 68 Metascore
    • 60 Michael O'Sullivan
    Despite this tale's surface sheen and propulsive momentum, it never transports one very far.
    • 44 Metascore
    • 60 Michael O'Sullivan
    There are a number of surprises in the idiosyncratic film, and one of its pleasures is the oblique and unchronological way in which Ward peels away the layers of the story, flashing backward and forward in time and jumping between Earth and the Beyond, separating his scenes with blindingly blank, white-out screens.
    • 47 Metascore
    • 60 Michael O'Sullivan
    The film as a whole, while possessing a kind of vicious beauty, feels as cold and as embalmed as a corpse.
    • 47 Metascore
    • 60 Michael O'Sullivan
    It's the Weather Channel on steroids.
    • 53 Metascore
    • 60 Michael O'Sullivan
    Make no mistake. This is partisan filmmaking at its most gleefully unapologetic. Unless they're also masochists, Bill Clinton haters and Ken Starr fans will know better than to buy a ticket.
    • 64 Metascore
    • 60 Michael O'Sullivan
    As a rule, the drawn and computer-animated imagery is top notch and seamlessly integrated, but the central characters' tawny complexions and the often chiaroscuro lighting sometimes obscure all but the whites of their eyes and their pearl-perfect teeth.
    • 54 Metascore
    • 60 Michael O'Sullivan
    Presents an America that is as much about the pathological display of imperial power -- a showmanship of arrogance and violence -- as policy.
    • 49 Metascore
    • 60 Michael O'Sullivan
    It's effectively frightening. It's just not the kind of frightening that stays with you very long, unless of course someone decides to make the same movie . . . yet again.
    • 66 Metascore
    • 60 Michael O'Sullivan
    Feels like a hazy high that takes too long to shake.
    • 57 Metascore
    • 60 Michael O'Sullivan
    A blackhearted little film. What's being marketed as a frothy French confection about jealousy (specifically the jealousy of a regular guy married to a famous movie star) also just so happens to be a portrait of a marriage going down the toilet.
    • 65 Metascore
    • 60 Michael O'Sullivan
    In the end Monsieur N. could use a little less cloak-and-dagger and more of what made "The Emperor's New Clothes" work, i.e., heart.
    • 39 Metascore
    • 60 Michael O'Sullivan
    Satisfies and disturbs in just about equal measure.
    • 49 Metascore
    • 60 Michael O'Sullivan
    If Guess Who were either a whole lot funnier, or a whole lot less funny, it would be a far better film.
    • 48 Metascore
    • 60 Michael O'Sullivan
    The pleasure is entirely like eating cake made from cake mix. It's not like you don't know how it's going to turn out, or how it tasted the last time you ate it.
    • 75 Metascore
    • 60 Michael O'Sullivan
    Plays like a piece of mediocre music, gorgeously rendered.
    • 52 Metascore
    • 60 Michael O'Sullivan
    There's something that never quite works about the film.
    • 36 Metascore
    • 60 Michael O'Sullivan
    The movie is pretty unabashed about the all-but-corny sentiment: Each of us has something to give.
    • 41 Metascore
    • 60 Michael O'Sullivan
    Yes, Knowing is creepy, at least for the first two-thirds or so, in a moderately satisfying, if predictable, way.
    • 73 Metascore
    • 50 Michael O'Sullivan
    This slight but insinuating documentary by Abbas Kiarostami...will do nothing to advance or detract from the reputation of the acclaimed Iranian filmmaker.
    • 52 Metascore
    • 50 Michael O'Sullivan
    Based on "Romeo and Juliet" the way a martini is "based" on vermouth.
    • 55 Metascore
    • 50 Michael O'Sullivan
    Those who are only mildly curious, I fear, will be put to sleep or bewildered by the artsy and often pointless visuals.
    • 27 Metascore
    • 50 Michael O'Sullivan
    Rollicks and rolls, thanks mainly to Roth's over-the-top depravity and Xiong's swingin', "Crouching Tiger"-style choreography.
    • 44 Metascore
    • 50 Michael O'Sullivan
    Derivative dumpling of a romantic comedy about Irish sexuality.
    • 31 Metascore
    • 50 Michael O'Sullivan
    At times, it's downright nasty; and that's when I like it best.
    • 30 Metascore
    • 50 Michael O'Sullivan
    Guaranteed-to-bum-you-out conclusion.
    • 49 Metascore
    • 50 Michael O'Sullivan
    Wants to be about life, death and the red liquid that flows beneath our skin. It ends up being more about stage blood and stupid plot tricks.
    • 50 Metascore
    • 50 Michael O'Sullivan
    The film actually gets to tackle some larger questions than one normally finds in the average fireball drama.
    • Washington Post
    • 64 Metascore
    • 50 Michael O'Sullivan
    There is still a self-consciousness and a forced quality to much of the humor that this TPT redux just can't shake.
    • 23 Metascore
    • 50 Michael O'Sullivan
    Bizarre yet popular.
    • 45 Metascore
    • 50 Michael O'Sullivan
    This fairy-tale shtick, even when dressed up with a little class-war garnish, is hard to swallow.
    • 35 Metascore
    • 50 Michael O'Sullivan
    For those so inclined, it's nice to see the girl and the gangsta -- not the gunslinger -- save the day.
    • 40 Metascore
    • 50 Michael O'Sullivan
    A love boat afloat on the vast cinematic ocean that sloshes back and forth between the stinko and the fabulous.
    • 63 Metascore
    • 50 Michael O'Sullivan
    Its one-sidedness flirts with propaganda.
    • 51 Metascore
    • 50 Michael O'Sullivan
    It's a case of the heart being in the right place, but the script getting in the way.
    • 70 Metascore
    • 50 Michael O'Sullivan
    As exhausting as it is exhilarating to watch, the film in the end is less than fully satisfying.
    • 30 Metascore
    • 50 Michael O'Sullivan
    Tries to cram too many ingredients into one small pot.
    • 38 Metascore
    • 50 Michael O'Sullivan
    The franchise is cheapened by Disney's crass commercialism in releasing material that, by rights, should have gone straight to video.
    • 30 Metascore
    • 50 Michael O'Sullivan
    Gripping, if manipulative and somewhat preposterous, drama.
    • 42 Metascore
    • 50 Michael O'Sullivan
    Like Affleck himself, the film is perfectly satisfactory without being deeply satisfying.
    • 60 Metascore
    • 50 Michael O'Sullivan
    A misbegotten marriage of sweet and sour.
    • 67 Metascore
    • 50 Michael O'Sullivan
    Although laced with adrenaline and flavored with noirish seasoning, John Frankenheimer's Ronin is a disappointingly conventional thriller.
    • 33 Metascore
    • 50 Michael O'Sullivan
    Just because it's a good idea doesn't mean it's easy to do well. Screenwriter-turned-director Kurt Wimmer has a hard time keeping his actors from, well, acting a lot of the time.
    • 51 Metascore
    • 50 Michael O'Sullivan
    I love a good story, too, but I prefer one that actually goes somewhere (although, as joy rides to nowhere are concerned, this one is a beaut).
    • 50 Metascore
    • 50 Michael O'Sullivan
    The unsatisfying thriller A Perfect Murder is a triumph of style over substance, with style in this case winning only by default.
    • 56 Metascore
    • 50 Michael O'Sullivan
    However many millions of dollars Rodriguez set aside for blanks and exploding squibs was a waste. Depp's salary, on the other hand, was money well spent.
    • 51 Metascore
    • 50 Michael O'Sullivan
    Scares, to be sure, which is certainly one promise on which it delivers. But the film offers little insight into what it seems to be saying is essentially a mundane fact of life: When one devil leaves the world, there is always another one waiting just outside the door.
    • 58 Metascore
    • 50 Michael O'Sullivan
    Goes beyond interesting, though, to moderately annoying.
    • 43 Metascore
    • 50 Michael O'Sullivan
    A fun if dumb movie.
    • 35 Metascore
    • 50 Michael O'Sullivan
    The comedy about a coterie of high school seniors plotting to steal the answers to the dreaded standardized test talks a pretty good game, but in the end the numbers just don't add up to much.
    • 30 Metascore
    • 50 Michael O'Sullivan
    With a surprisingly unhappy, anti-Hollywood ending that will appeal to those who like things dark.
    • 77 Metascore
    • 50 Michael O'Sullivan
    It's an infusion of zip that's sorely needed, because the chief deficiency of A Bug's Life so far is its blandness….The film's other weakness is the low-octane vocal performances of its leading cast.
    • 47 Metascore
    • 50 Michael O'Sullivan
    Controversial, yet undeniably powerful.
    • 63 Metascore
    • 50 Michael O'Sullivan
    The problem, sadly, is that the whole amounts to less than the sum of its parts.
    • 46 Metascore
    • 50 Michael O'Sullivan
    This Window ultimately feels like one most of us have climbed through before.
    • 32 Metascore
    • 50 Michael O'Sullivan
    It's a pretty scathing satire of reality TV, including itself, which makes it both what it is, and a critique of what it is.
    • 31 Metascore
    • 50 Michael O'Sullivan
    When it is good, the film by "Chicago Hope" actor Peter Berg is very, very good, but when it is bad it is horrid.
    • 45 Metascore
    • 50 Michael O'Sullivan
    You'd never know it from the innocuous-looking trailers, but Home Fries is really "When Dorian Met Sally" meets "Psycho."
    • 27 Metascore
    • 50 Michael O'Sullivan
    The bad news is that the opening credits, which make sick and darkly comic allusions to suicide, are the best thing about the film.
    • 43 Metascore
    • 50 Michael O'Sullivan
    It's alternately monotonous, hot and dramatic, which makes for a peculiar, not entirely unsatisfying atmosphere of neo -- or is that post? -- noir. What it all means, of course, I have no idea.
    • 44 Metascore
    • 50 Michael O'Sullivan
    Broad and cheesy, yet it is not utterly without a kind of junk-food appeal.
    • 67 Metascore
    • 50 Michael O'Sullivan
    A compelling if singularly sour tale.
    • 56 Metascore
    • 50 Michael O'Sullivan
    Buffed and waxed to within an inch of its life, Stella registers as more of a sequence of slick commercials than an actual drama.
    • 45 Metascore
    • 50 Michael O'Sullivan
    It isn't that Bobby Jones is especially bad. It's just not especially good, either.
    • 75 Metascore
    • 50 Michael O'Sullivan
    Strikes several beautiful and lingering chords about the human condition, but the notes of the music ultimately never come together to form a coherent song.
    • 61 Metascore
    • 50 Michael O'Sullivan
    It never really feels like we've gotten to know the man himself, leaving the figure at the heart of I'll Sing for You a cipher.
    • 53 Metascore
    • 50 Michael O'Sullivan
    Watching Tea with Mussolini is probably a lot like having tea with Mussolini would be: never dull but neither, I imagine, an entirely pleasant experience.
    • 39 Metascore
    • 50 Michael O'Sullivan
    The film does not jerk tears as much as it knocks you down and runs away with them.
    • 41 Metascore
    • 50 Michael O'Sullivan
    There just aren't many laughs in this slack dramedy, and what yuks there are are fairly low-wattage.
    • 43 Metascore
    • 50 Michael O'Sullivan
    The mixture of tension, yuks and horrific violence at times reminds one of nothing more than a poor man's "Pulp Fiction."

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