Michael O'Sullivan

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For 1,212 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 2.8 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Goodnight Mommy
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1212 movie reviews
    • 72 Metascore
    • 88 Michael O'Sullivan
    It’s nice to be reminded of what old people look like, since they are, at least in movies these days, ever more invisible.
    • 67 Metascore
    • 88 Michael O'Sullivan
    Part drug comedy, part psychological drama, the movie is slight, but only superficially so. As the closing credits role, we’re left not with a sense of a day at the beach, but of what might be swimming out there, in the dark of the abyss.
    • 83 Metascore
    • 88 Michael O'Sullivan
    It’s upsetting and scary to watch the footage of orca attacks collected in Blackfish, a damning documentary about the treatment of the animals by marine parks.
    • 60 Metascore
    • 88 Michael O'Sullivan
    A refreshing summer cocktail of action-movie staples, The Wolverine combines the bracingly adult flavor of everyone’s favorite mutant antihero — tortured, boozy X-Man Logan, a.k.a. Wolverine — with the fizzy effervescence of several mixers from the cabinet of Japanese genre cinema: noirish yakuza crime drama, samurai derring-do and ninja acrobatics.
    • 83 Metascore
    • 88 Michael O'Sullivan
    It’s a wonder how Cutie and the Boxer, in less than an hour and a half, manages to say so much about love, life and art. Movies twice as long are often half as eloquent.
    • 54 Metascore
    • 88 Michael O'Sullivan
    It’s surprisingly wise, funny and affecting, thanks in part to a sensitive script, and in part to a strong ensemble cast.
    • 75 Metascore
    • 88 Michael O'Sullivan
    A mesmerizing documentary.
    • 65 Metascore
    • 88 Michael O'Sullivan
    In this tale of longing, loss and regret, it isn’t always possible to know who’s deluding oneself, or someone else. But then, it isn’t always possible to know that in real life either.
    • 60 Metascore
    • 88 Michael O'Sullivan
    Thrillingly told, compellingly acted and beautifully shot.
    • 83 Metascore
    • 88 Michael O'Sullivan
    There are so many things to like about The Lego Movie: a great voice cast, clever dialogue and a handsome blend of stop-motion and CGI animation that feels lovingly retro, while still looking sharp in 21st-century 3-D. But the best thing about this movie... is its subversive nature.
    • 68 Metascore
    • 88 Michael O'Sullivan
    There’s nothing terribly profound about Chef. But its message — that relationships, like cooking, take a hands-on approach — is a sweet and sustaining one.
    • 61 Metascore
    • 88 Michael O'Sullivan
    As agenda-driven as Documented is, it also is a deeply engrossing self-portrait.
    • 78 Metascore
    • 88 Michael O'Sullivan
    A sprawling yet engrossing documentary.
    • 77 Metascore
    • 88 Michael O'Sullivan
    Code Black is a powerful and quietly damning film. While training his lens narrowly on the heroic workers in a single emergency department, McGarry has made a broad indictment of a system that is badly in need of surgery.
    • 64 Metascore
    • 88 Michael O'Sullivan
    [A] captivating and meticulous new film by Alex Gibney.
    • 83 Metascore
    • 88 Michael O'Sullivan
    20,000 Days on Earth isn’t so much a portrait of the artist as a middle-aged man, looking back on his life, as it is a meditation on the art of storytelling.
    • 67 Metascore
    • 88 Michael O'Sullivan
    In viewing the same tale retold from two mutually exclusive vantage points, we become aware of how “Him” and “Her” deepen and enrich certain aspects of the story, adding contrast and, at times, contradiction, to the whole.
    • 63 Metascore
    • 88 Michael O'Sullivan
    "Him” and “Her” make for a remarkably powerful film experiment, retaining the insights into relationships of “Them” while filling in many of its invisible storytelling fissures.
    • 57 Metascore
    • 88 Michael O'Sullivan
    1,000 Times Good Night has moments of both startling violence and breathtaking beauty.
    • 89 Metascore
    • 88 Michael O'Sullivan
    A gorgeous, magical and melancholy fantasia about the joy and pain of human existence.
    • 74 Metascore
    • 88 Michael O'Sullivan
    It’s a movie that’s as fun to watch as it is funny. But the real appeal of Big Hero 6 isn’t its action. It’s the central character’s heart.
    • 53 Metascore
    • 88 Michael O'Sullivan
    The screenplay by John Aboud, Michael Colton and Brandon Sawyer has a fizzy, pop-culture pizazz, tempered by a distinctly vaudeville sensibility. It’s smart, but not brainy; dumb, but never inane.
    • 86 Metascore
    • 88 Michael O'Sullivan
    The feature debut of writer-director Jennifer Kent is not just genuinely, deeply scary, but also a beautifully told tale of a mother and son, enriched with layers of contradiction and ambiguity.
    • 77 Metascore
    • 88 Michael O'Sullivan
    Szifrón handles the tone and presentation masterfully.
    • 90 Metascore
    • 88 Michael O'Sullivan
    Despite the seemingly uncinematic nature of this inert, even claustrophobic scenario, the film mesmerizes, utterly.
    • 83 Metascore
    • 88 Michael O'Sullivan
    It Follows sticks to you — yes, even outside of the theater — with a grim unshakability that is at once stylish, smart and deadly serious.
    • 76 Metascore
    • 88 Michael O'Sullivan
    Black Souls has a deep and startling soulfulness that, despite its shocking conclusion, is profoundly moving.
    • 73 Metascore
    • 88 Michael O'Sullivan
    Georgian writer-director Zaza Urushadze avoids histrionics or moralizing, relying on a strong cast that expresses the film’s central argument about war’s absurdity largely through taciturn action, not words.
    • 76 Metascore
    • 88 Michael O'Sullivan
    Vikander never goes for the easy emotion, though, choosing instead to play against what conventional melodrama would dictate her reaction should be. This understatedness is always the right choice, and it makes for a far more effective — and affecting — film.
    • 65 Metascore
    • 88 Michael O'Sullivan
    Thorpe doesn’t flinch from whatever awkward or controversial findings his subjects offer up, especially when they concern himself. The filmmaker’s curiosity as a reporter is tempered by an unapologetically subjective perspective.
    • 61 Metascore
    • 88 Michael O'Sullivan
    If there’s a quibble with the film, it’s that it glosses over what it’s like to grow up in the glare of worldwide celebrity.
    • 82 Metascore
    • 88 Michael O'Sullivan
    The themes of love, loyalty, ambition, honor and legacy that lend sinew to the story are delivered with such a clean punch that they as feel as fresh as they did in 1976.
    • 80 Metascore
    • 88 Michael O'Sullivan
    The make-believe world of Boy and the World is confusing, scary and gorgeous. But then again, so is the real one.
    • 65 Metascore
    • 88 Michael O'Sullivan
    It’s a voraciously self-aware comedy, one that dines out on the inherent inanity of its own premise as much as it does the movies it’s competing with.
    • 81 Metascore
    • 88 Michael O'Sullivan
    That A War both delivers the results one might wish for and denies a sense of closure is not a failing but its chief virtue.
    • 90 Metascore
    • 88 Michael O'Sullivan
    Small moments take on larger meaning in this exquisite memoir. That’s as true of the plot — in which nothing terribly significant happens, except life — as it is of the visuals.
    • 70 Metascore
    • 88 Michael O'Sullivan
    Along with his regular co-writer Eskil Vogt, Trier has crafted a profoundly beautiful and strange meditation on secrets, lies, dreams, memories and misunderstanding.
    • 57 Metascore
    • 88 Michael O'Sullivan
    For a movie that relies so heavily on a single, not especially groundbreaking visual effect — now you see the bogeyman, now you don’t — Lights Out is crazy scary.
    • 48 Metascore
    • 80 Michael O'Sullivan
    Apart from the deja vu all over again, Lucky Break is no worse a film than "Breaking Out," and "Breaking Out" was utterly charming.
    • 66 Metascore
    • 80 Michael O'Sullivan
    A raunchy and frequently hilarious follow-up to the gifted Korean American stand-up's "I'm the One That I Want."
    • 42 Metascore
    • 80 Michael O'Sullivan
    Freeman fills Cross's gumshoes with distinction.
    • 52 Metascore
    • 80 Michael O'Sullivan
    It's a love story, yes, but one whose sweetness is cut by honest performances, a sharply drawn supporting cast and a fairly serious, yet never self-pitying, tone.
    • 75 Metascore
    • 80 Michael O'Sullivan
    More honest than any conventional morality tale. Here there are no heroes and no real villains; the good guys are all flawed and even bad guys are sometimes capable of the noblest of acts.
    • 49 Metascore
    • 80 Michael O'Sullivan
    Its real agenda is rip-roaring adventure, and that it delivers all wrapped up with a bow.
    • 76 Metascore
    • 80 Michael O'Sullivan
    Crudup gives a performance that is by turns scary, heartbreaking, grotesque and funny as hell.
    • 75 Metascore
    • 80 Michael O'Sullivan
    Very, very funny, in that morbid sort of way that makes you laugh even as you shudder with horror.
    • 73 Metascore
    • 80 Michael O'Sullivan
    In its heart burns the indomitable flame of the human spirit.
    • 66 Metascore
    • 80 Michael O'Sullivan
    A confection that is ultimately better because of its bitterness.
    • 46 Metascore
    • 80 Michael O'Sullivan
    First-time feature director Harald Zwart has a real flair for farce, and he keeps the outrageous high jinks of the script lively yet grounded in reality.
    • 75 Metascore
    • 80 Michael O'Sullivan
    It also has heart and soul, two commodities all too often in short supply in the field of garden-variety cinema verite.
    • 40 Metascore
    • 80 Michael O'Sullivan
    Wonderfully empowering to watch Petula and Dorothy turn the tables on their testosterone-crazed tormentors.
    • 84 Metascore
    • 80 Michael O'Sullivan
    Short on drama but long on poetry.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Where it succeeds best is not in describing how Luzhin got broken but how love fixed him, albeit temporarily.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Utterly delightful fable of romantic destiny.
    • 75 Metascore
    • 80 Michael O'Sullivan
    It's daring, deliberately offensive and, for a comedy, it has far more ideas in it than actual laughs.
    • 74 Metascore
    • 80 Michael O'Sullivan
    Eminently watchable thanks to strong performances from its three leads (McKellen, Redgrave, Fraser).
    • 76 Metascore
    • 80 Michael O'Sullivan
    A decidedly grown-up affair.
    • 62 Metascore
    • 80 Michael O'Sullivan
    Manages to take the cerebral act of literary creation and make it exciting, sexy even.
    • 68 Metascore
    • 80 Michael O'Sullivan
    Little Voice may be more of a confection than a square meal, but it's proof of how good a dish can be when the ingredients are of the highest order.
    • 65 Metascore
    • 80 Michael O'Sullivan
    It's still pretty darn good, despite its smarty-pants aura.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Touching, funny, unflinching and true.
    • 69 Metascore
    • 80 Michael O'Sullivan
    A wondrous, funny and moving little film.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Drew Barrymore has figured out what works, and what works for Drew Barrymore is this: Cinderella stories.
    • 48 Metascore
    • 80 Michael O'Sullivan
    A two-hour pleasure cruise.
    • 51 Metascore
    • 80 Michael O'Sullivan
    Wickedly funny.
    • 71 Metascore
    • 80 Michael O'Sullivan
    A gorgeously morbid meditation on the interconnectivity of life.
    • 61 Metascore
    • 80 Michael O'Sullivan
    The movie is not for the squeamish, but for those who are unafraid to look at what is, perhaps, their own metaphorical "backyard," for those willing to stare into the long, dark night of the contemporary American soul, its bone-crunching message is worth hearing.
    • 67 Metascore
    • 80 Michael O'Sullivan
    After viewing documentarian Stephanie Black's dour exegesis of the wrecked Jamaican economy -- only the most insensitive vacationer will want to set foot anywhere near the resorts and beaches of Montego Bay.
    • 51 Metascore
    • 80 Michael O'Sullivan
    A poke in the adrenal gland -- obeys the first law of action movie-making by quickening the heart and dazzling the eye.
    • 63 Metascore
    • 80 Michael O'Sullivan
    With its cast of back-stabbing functionaries and desk jockeys, Spy Game makes the sport and hard work of espionage seem chillingly real.
    • 47 Metascore
    • 80 Michael O'Sullivan
    Zigging and zagging serenely between the extremes of deadpan, postmodern comedy and the antic, Max Sennett-style japery of yore.
    • 67 Metascore
    • 80 Michael O'Sullivan
    An enormously entertaining visit to planet paranoia, but its escapist pleasures titillate only in direct proportion to the degree of persecution complex that you bring into the theater with you.
    • 84 Metascore
    • 80 Michael O'Sullivan
    Moodysson's cornball sentimentality about the many shapes of the human family is tempered by his honesty about personal frailty and the silliness of utopian living experiments.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Hilary and Jackie plumbs the cistern of family dysfunction and musical genius to profound and haunting effect.
    • 56 Metascore
    • 80 Michael O'Sullivan
    Max
    Fascinating story.
    • 63 Metascore
    • 80 Michael O'Sullivan
    Simple without being slight, and profoundly moving without dipping into mawkishness.
    • 46 Metascore
    • 80 Michael O'Sullivan
    Subtle it's not. Still, the film, directed by Andrew Fleming ("Dick"), gets large and plentiful laughs where it's supposed to.
    • 87 Metascore
    • 80 Michael O'Sullivan
    It's enough to make your head spin, but Almodovar, whose mastery of the medium has never been more assured, gives you plenty to think about, ultimately grounding the dizzy whirl of his idiosyncratic fictional world in a story that feels not just true but universal.
    • 69 Metascore
    • 80 Michael O'Sullivan
    Nurse Betty is this year's "Being John Malkovich"-an utter original with a little something to say and a way of saying it that manages to be at once delightful and bilious.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Shows more hopelessness than optimism but is never less than honest.
    • 64 Metascore
    • 80 Michael O'Sullivan
    The documentary makes an effective and rather chilling case that there is an almost unbroken chain between Adolf Hitler and Saddam Hussein.
    • 65 Metascore
    • 80 Michael O'Sullivan
    Not everyone's cup of tea, but it's actually rather beautiful.
    • 70 Metascore
    • 80 Michael O'Sullivan
    As channeled by the extraordinary Hoffman, Dan Mahowny is less a freak than a nerve-deadened Everyman with the courage to search for something that makes him feel alive.
    • 59 Metascore
    • 80 Michael O'Sullivan
    This is the lightest, brightest and tightest film confection to come down the date pike in quite some time.
    • 53 Metascore
    • 80 Michael O'Sullivan
    New Suit is devilishly good fun.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Sweet without being saccharine and funny without being forced, the closely observed romantic comedy treats the culinary arts as a metaphor for personal healing.
    • 57 Metascore
    • 80 Michael O'Sullivan
    Shelton's harrowing and compulsively watchable morality play.
    • 63 Metascore
    • 80 Michael O'Sullivan
    Shakes, rattles and rolls the house, building to a climax that makes you almost forget you're in a movie theater and not a football stadium at halftime.
    • 46 Metascore
    • 80 Michael O'Sullivan
    Carrey is so gifted a physical comedian that even mediocre material shines in his talented hands, not to mention his talented feet, face, elbows, ears, hair and, ahem, derriere.
    • 59 Metascore
    • 80 Michael O'Sullivan
    In one bold stride, Benigni has set himself apart from the rank and file of funnymen, joining the elite class of clowns who know that humor and heartbreak are only a howl of pain apart.
    • 67 Metascore
    • 80 Michael O'Sullivan
    Michelle Williams turns in a performance that is seamless, canny and artistically mature.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Feels like a song you may have heard before, but one whose aching beauty makes it endlessly listenable.
    • 80 Metascore
    • 80 Michael O'Sullivan
    A touching and unusual road movie-cum-buddy film.
    • 63 Metascore
    • 80 Michael O'Sullivan
    May not change the world, but it's deeply creepy and richly satisfying.
    • 68 Metascore
    • 80 Michael O'Sullivan
    It is, as with any cinematic joy ride, not the destination that matters, but the rush of getting there.
    • 81 Metascore
    • 80 Michael O'Sullivan
    One heck of a tale of deliciously unladylike payback.
    • 90 Metascore
    • 80 Michael O'Sullivan
    Its relatively minor imperfections seem more glaring when compared to the near flawlessness of the film's lyrical, scorching start.
    • 73 Metascore
    • 80 Michael O'Sullivan
    Far filthier and a good bit funnier than Trey Parker and Matt Stone's sophomoric cable TV show ever dared to be.
    • 80 Metascore
    • 80 Michael O'Sullivan
    Could hardly be more suspenseful if it were scripted.
    • 70 Metascore
    • 80 Michael O'Sullivan
    The wisecracks fly fast and furious

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