Michael O'Sullivan
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For 1,012 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 2.4 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 A Simple Plan
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,012 movie reviews
    • 60 Metascore
    • 88 Michael O'Sullivan
    Thrillingly told, compellingly acted and beautifully shot.
    • 82 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.
    • 79 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.
    • 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
    • 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.
    • 57 Metascore
    • 80 Michael O'Sullivan
    A mostly unsentimental little gem.
    • 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.
    • 71 Metascore
    • 80 Michael O'Sullivan
    I can't get over the nagging feeling that Pleasantville's beguiling spell was cast by a real magician, only to be carelessly broken by the same clumsy charlatan.
    • 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.
    • 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.
    • 69 Metascore
    • 80 Michael O'Sullivan
    Like its Southern California setting, the sunny semi-autobiography is tempered with just the right touch of Jenkins's smoggy cynicism.
    • 61 Metascore
    • 80 Michael O'Sullivan
    Enormously entertaining.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Disturbing, darkly beautiful.
    • 43 Metascore
    • 80 Michael O'Sullivan
    A film whose effects are as hard to wash away as blood.
    • 71 Metascore
    • 80 Michael O'Sullivan
    It's over-the-top. It's wild. It's filled with outrageous behavior all around.
    • 61 Metascore
    • 80 Michael O'Sullivan
    A taut, escapist legal thriller.
    • 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.
    • 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.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Poignant, heartbreaking proof that, sometimes, love is just not enough.
    • 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.
    • 74 Metascore
    • 80 Michael O'Sullivan
    An okay movie made nearly great by one great thing: the bravura, mercilessly watchable performance of Charlize Theron.
    • 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.
    • 71 Metascore
    • 80 Michael O'Sullivan
    Engrossing, educational, amusing and disturbing. And who could ask for more than that from a film?
    • 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.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Powerful yet ambiguous.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Sorry, stinging fire ants couldn't make me reveal the outcome of this witty and, yes, surprisingly suspenseful adventure.
    • 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.
    • 75 Metascore
    • 80 Michael O'Sullivan
    May, at times, be deadpan to the point of stiffness, but it's far from dead.
    • 41 Metascore
    • 80 Michael O'Sullivan
    The strongest magnet in this psychedelic morass is Johnny Depp who, as the story's antic, disgusting and seductive spirit guide, is impossible to look away from.
    • 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.
    • 71 Metascore
    • 80 Michael O'Sullivan
    Shot with a shaky hand-held camera, Wonderland is a sentimental fairy tale with a gritty documentary feel.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Is Spartan a perfect, or even a great, movie? Probably not. But in its prickly irascibility and deeply unsettling intelligence, it makes for a very, very good one.
    • 51 Metascore
    • 80 Michael O'Sullivan
    It's just more wry than funny, more a gently subversive comedy of modern manners than the simpering date movie it seems to be masquerading as.
    • 58 Metascore
    • 80 Michael O'Sullivan
    Yes, it's essentially a remake of a sequel, albeit a sequel that happens to be one of the greatest horror movies ever made, but it more than surpasses the original.