Michael O'Sullivan
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For 1,090 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 2.2 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 Tomcats
Score distribution:
1,090 movie reviews
    • 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.
    • 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.
    • 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
    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.
    • 57 Metascore
    • 88 Michael O'Sullivan
    1,000 Times Good Night has moments of both startling violence and breathtaking beauty.
    • 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.
    • 74 Metascore
    • 88 Michael O'Sullivan
    McKinney, a woman whose spellbinding and baffling presence - nay, performance - in Tabloid more than lives up to her recent off-screen antics.
    • 74 Metascore
    • 88 Michael O'Sullivan
    Polisse is hard to watch at times, but it's also hard not to.
    • 54 Metascore
    • 88 Michael O'Sullivan
    The Reluctant Fundamentalist will likely make some people mad because of the way it holds the United States responsible for the repercussions of its actions in the world. Like Changez himself, the film has a complicated relationship with the superpower.
    • 60 Metascore
    • 88 Michael O'Sullivan
    It's a kid's Cirque de Soleil, for a lot less money.
    • 75 Metascore
    • 88 Michael O'Sullivan
    A mesmerizing documentary.
    • 60 Metascore
    • 88 Michael O'Sullivan
    Thrillingly told, compellingly acted and beautifully shot.
    • 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.
    • 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.
    • 63 Metascore
    • 88 Michael O'Sullivan
    Megamind has presentation in spades. But it also has something even rarer than that. It's got heart.
    • 73 Metascore
    • 88 Michael O'Sullivan
    It's a thriller that feels like a documentary.
    • 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
    The film is a documentary, pure and simple. But the movie, by director Rick Rowley, plays out like something of a murder mystery.
    • 61 Metascore
    • 88 Michael O'Sullivan
    As agenda-driven as Documented is, it also is a deeply engrossing self-portrait.
    • 62 Metascore
    • 80 Michael O'Sullivan
    5x2
    Plays a little like a mystery, the central question of which is not whodunit but why.
    • 55 Metascore
    • 80 Michael O'Sullivan
    A kicky, twisted thrill ride, with enough laughs to leaven what can be read, at heart, as a metaphor for the modern marriage.
    • 49 Metascore
    • 80 Michael O'Sullivan
    Its real agenda is rip-roaring adventure, and that it delivers all wrapped up with a bow.
    • 66 Metascore
    • 80 Michael O'Sullivan
    In this modern retelling of the well-known fable, she is one princess-in-waiting who does not need rescuing by any knight in shining armor. [31 Jul 1998, Pg. N.47]
    • Washington Post
    • 67 Metascore
    • 80 Michael O'Sullivan
    The dynamic between Channing and Stiles is as compelling as a freeway wreck.
    • 66 Metascore
    • 80 Michael O'Sullivan
    Well acted, moodily shot and tautly written, this Tattoo may feel like you've seen some of it (or its ilk) before. Still, its haunting images get under the skin, leaving an indelible impression.
    • 74 Metascore
    • 80 Michael O'Sullivan
    Never preachy, never sanctimonious nor touchy-feely.
    • 73 Metascore
    • 80 Michael O'Sullivan
    What keeps The 40-Year-Old Virgin out of Rob Schneider territory, however, is: 1) the fact that it's pretty darn funny, and in a way that feels consistently real, and 2) the fact that it's actually an excellent date movie.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Touching, funny, unflinching and true.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Shows more hopelessness than optimism but is never less than honest.
    • 42 Metascore
    • 80 Michael O'Sullivan
    Freeman fills Cross's gumshoes with distinction.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Very, very funny, thanks to a lively first script by Mark O'Rowe, who has a good ear for earthy dialogue and a sense of life's absurd little synchronicities.
    • 62 Metascore
    • 80 Michael O'Sullivan
    Manages to take the cerebral act of literary creation and make it exciting, sexy even.
    • 61 Metascore
    • 80 Michael O'Sullivan
    Enormously entertaining.
    • 71 Metascore
    • 80 Michael O'Sullivan
    A gorgeously morbid meditation on the interconnectivity of life.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Under normal circumstances, nothing kills a joke faster than trying to explain it. Yet here, such examination is the film's strong suit and provides much-needed respite, quite frankly, from the exhaustion of constant laughter.
    • 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.
    • 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.
    • 73 Metascore
    • 80 Michael O'Sullivan
    In its heart burns the indomitable flame of the human spirit.
    • 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.
    • 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.
    • 65 Metascore
    • 80 Michael O'Sullivan
    More love story than thriller, with the mystery providing only slack tension and the December-December romance that ultimately develops between Regina and Camargo crackling with drama and sexual tension aplenty.
    • 81 Metascore
    • 80 Michael O'Sullivan
    One heck of a tale of deliciously unladylike payback.
    • 73 Metascore
    • 80 Michael O'Sullivan
    Like a haiku, it is not what is said, but what is unsaid, that leaves the most lasting echoes.
    • 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.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Visually stylish surrealist drama.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Drew Barrymore has figured out what works, and what works for Drew Barrymore is this: Cinderella stories.
    • 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.
    • 43 Metascore
    • 80 Michael O'Sullivan
    A film whose effects are as hard to wash away as blood.
    • 62 Metascore
    • 80 Michael O'Sullivan
    It's a love letter to the myriad ways, large and small, that mail handlers change lives the world over.
    • 68 Metascore
    • 80 Michael O'Sullivan
    Personal and private almost to the point of self-absorption, the film is ultimately saved from neurotic narcissism by the director's self-deprecating humor and unapologetic honesty about his own dysfunction.
    • 84 Metascore
    • 80 Michael O'Sullivan
    The line between madness and genius is thin. Not to mention more than amply explored in any number of films about tortured artists. But to look at the almost religious ecstasy on Moreau's face is to feel the artist's passion and be inspired by it.
    • 69 Metascore
    • 80 Michael O'Sullivan
    Contrary to expectation, it's neither a movie about religion nor the coming together of enemies. What it is, at heart, is a movie about love.
    • 84 Metascore
    • 80 Michael O'Sullivan
    Short on drama but long on poetry.
    • 76 Metascore
    • 80 Michael O'Sullivan
    In Sheridan's warm and glowing treatment, the moral of the story feels less like a reheated fable than like something utterly, indescribably original.
    • 64 Metascore
    • 80 Michael O'Sullivan
    A complex film about the minefield of loyalty and betrayal.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Sternfeld has created a garden on film that opens up its blooms for us, not in the dark of the movie house, but long after we've left the theater.
    • 65 Metascore
    • 80 Michael O'Sullivan
    A handsome and effective-if over-long-tear-jerker about thwarted love between grown-ups who should know better.
    • 53 Metascore
    • 80 Michael O'Sullivan
    More tasteful, sensitive and original than you might imagine.
    • 71 Metascore
    • 80 Michael O'Sullivan
    Sweet and wise little film.
    • 57 Metascore
    • 80 Michael O'Sullivan
    Shelton's harrowing and compulsively watchable morality play.
    • 56 Metascore
    • 80 Michael O'Sullivan
    What keeps Phone Booth going, despite its premise, is the acting and the writing, both of which are top-notch.
    • 37 Metascore
    • 80 Michael O'Sullivan
    A compelling, exquisitely acted drama about the shock waves emanating from -- and toward -- a single act of almost inexplicable violence.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Haunting little film, whose chaotic universe is churned up by the conflict between the haves and the have-nots.
    • 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.
    • 53 Metascore
    • 80 Michael O'Sullivan
    New Suit is devilishly good fun.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Utterly delightful fable of romantic destiny.
    • 70 Metascore
    • 80 Michael O'Sullivan
    Pure David Mamet is an acquired, but delicious, taste.
    • 73 Metascore
    • 80 Michael O'Sullivan
    One big, fat, honking comic book of a sci-fi-martial-arts adventure flick.
    • 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.
    • 65 Metascore
    • 80 Michael O'Sullivan
    It's still pretty darn good, despite its smarty-pants aura.
    • 40 Metascore
    • 80 Michael O'Sullivan
    Wonderfully empowering to watch Petula and Dorothy turn the tables on their testosterone-crazed tormentors.
    • 67 Metascore
    • 80 Michael O'Sullivan
    Michelle Williams turns in a performance that is seamless, canny and artistically mature.
    • 47 Metascore
    • 80 Michael O'Sullivan
    This is high-carb filmmaking at its finest. When it's all over, you'll have a knot in your stomach.
    • 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.
    • 83 Metascore
    • 80 Michael O'Sullivan
    In its small, achingly beautiful way, this is the lesson that Osama teaches us: When one human being suffers, it is all of us who share her pain.
    • 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.
    • 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.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Disturbing, darkly beautiful.
    • 75 Metascore
    • 80 Michael O'Sullivan
    It's in this final chapter that the director states his message, which is handled so lightly, almost incidentally, you might miss it. But it's a profound one. For what the girls learn is that the way to get what they want -- no, need -- isn't by hoarding something, but by letting go.
    • 71 Metascore
    • 80 Michael O'Sullivan
    It is Carandiru's ability to humanize its central characters ... that gives the movie its wrenching, tragic power
    • 76 Metascore
    • 80 Michael O'Sullivan
    Crudup gives a performance that is by turns scary, heartbreaking, grotesque and funny as hell.
    • 91 Metascore
    • 80 Michael O'Sullivan
    Overflowing with madcap visual flair and following a rambling thread of a plot that seems, at times, more the product of free association than an actual script, The Triplets of Belleville is a triumph of animated style over substance.
    • 63 Metascore
    • 80 Michael O'Sullivan
    Simple without being slight, and profoundly moving without dipping into mawkishness.
    • 66 Metascore
    • 80 Michael O'Sullivan
    A confection that is ultimately better because of its bitterness.
    • 71 Metascore
    • 80 Michael O'Sullivan
    It's over-the-top. It's wild. It's filled with outrageous behavior all around.
    • 66 Metascore
    • 80 Michael O'Sullivan
    The comedy is funny as hell. And yes, I mean hell, not heck.
    • 74 Metascore
    • 80 Michael O'Sullivan
    Eminently watchable thanks to strong performances from its three leads (McKellen, Redgrave, Fraser).
    • 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.
    • 65 Metascore
    • 80 Michael O'Sullivan
    Jarmusch's use of yin/yang, dark/light and good/evil symbolism makes glorious if goofy sense.
    • 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.
    • 71 Metascore
    • 80 Michael O'Sullivan
    Shot with a shaky hand-held camera, Wonderland is a sentimental fairy tale with a gritty documentary feel.
    • 74 Metascore
    • 80 Michael O'Sullivan
    An okay movie made nearly great by one great thing: the bravura, mercilessly watchable performance of Charlize Theron.
    • 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.
    • 68 Metascore
    • 80 Michael O'Sullivan
    Shaolin Soccer really loves what it mocks, after all, and that grandly goofy affection -- nay, joy -- for all things chop socky is purely, utterly contagious.
    • 61 Metascore
    • 80 Michael O'Sullivan
    A taut, escapist legal thriller.
    • 63 Metascore
    • 80 Michael O'Sullivan
    May not change the world, but it's deeply creepy and richly satisfying.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Like the TV show, The X-Files movie is stylish, scary, sardonically funny and at times just plain gross.

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