Michael O'Sullivan
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For 1,047 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 Ernest & Célestine
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,047 movie reviews
    • 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.
    • 48 Metascore
    • 38 Michael O'Sullivan
    Enjoy it, in moderation. It's your recommended weekly allowance of schlock.
    • 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.
    • 62 Metascore
    • 38 Michael O'Sullivan
    A blandly middling crowd pleaser.
    • 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.
    • 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.
    • 45 Metascore
    • 38 Michael O'Sullivan
    It's like "A Midsummer Night's Dream" in the Catskills.
    • 54 Metascore
    • 38 Michael O'Sullivan
    A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
    • 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.
    • 53 Metascore
    • 38 Michael O'Sullivan
    The hero of Sinister is almost unaccountably dumb. So, unfortunately, is the movie.
    • 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.
    • 36 Metascore
    • 38 Michael O'Sullivan
    Dull and repetitive, even by the standards of an already repetitive genre.
    • 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.
    • 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
    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.
    • 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.
    • 35 Metascore
    • 37 Michael O'Sullivan
    It’s a mushy and unsuspenseful melodrama.
    • 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.
    • 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.
    • 40 Metascore
    • 37 Michael O'Sullivan
    A bustling, overly busy mess.
    • 41 Metascore
    • 37 Michael O'Sullivan
    It’s exhausting. It’s also not particularly funny or engaging.
    • 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.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 37 Michael O'Sullivan
    What’s missing here is something, or rather, someone, to care about.
    • 40 Metascore
    • 37 Michael O'Sullivan
    3 Days to Kill feels like two very different movies, neither of which is particularly good.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.

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