Michael O'Sullivan
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For 1,019 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 2.3 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Incendies
Lowest review score: 0 Tomcats
Score distribution:
1,019 movie reviews
    • 44 Metascore
    • 38 Michael O'Sullivan
    I've got another portmanteau word for the movie: unbelievaballistic.
    • 49 Metascore
    • 38 Michael O'Sullivan
    Here's a better title for Griff the Invisible, a well-meaning but unengaging love story about two 20-something misfits: "Griff the Implausible."
    • 54 Metascore
    • 38 Michael O'Sullivan
    When all is said and done, Mike proves to be not only peripheral to the main thrust of the movie, but a drag on its momentum.
    • 61 Metascore
    • 38 Michael O'Sullivan
    Blackthorn feels less like a proper sequel to "Butch Cassidy and the Sundance Kid," which it purports to be, than a coattail rider.
    • 54 Metascore
    • 38 Michael O'Sullivan
    A giant disappointment. It's as bustling as its titular city's piazzas, but it goes nowhere.
    • 68 Metascore
    • 38 Michael O'Sullivan
    If it's art, it's only mildly interesting.
    • 53 Metascore
    • 38 Michael O'Sullivan
    The hero of Sinister is almost unaccountably dumb. So, unfortunately, is the movie.
    • 45 Metascore
    • 38 Michael O'Sullivan
    It's like "A Midsummer Night's Dream" in the Catskills.
    • 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.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 38 Michael O'Sullivan
    Dull and repetitive, even by the standards of an already repetitive genre.
    • 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.
    • 35 Metascore
    • 37 Michael O'Sullivan
    It’s a mushy and unsuspenseful melodrama.
    • 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
    Bening and Harris are great actors, and they fill their roles as completely as they can, given the limitations of the soggy and implausible script by Matthew McDuffie and director Arie Posin.
    • 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.
    • 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.
    • 41 Metascore
    • 37 Michael O'Sullivan
    It’s exhausting. It’s also not particularly funny or engaging.
    • 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.
    • 42 Metascore
    • 37 Michael O'Sullivan
    The real trouble with Transcendence is that it just isn’t all that scary — at least not in the way that it wants to be.
    • 40 Metascore
    • 37 Michael O'Sullivan
    A bustling, overly busy mess.
    • 41 Metascore
    • 37 Michael O'Sullivan
    Ironically, When the Game Stands Tall isn’t about keeping gridiron glory in perspective, but about blowing it out of proportion.
    • 40 Metascore
    • 37 Michael O'Sullivan
    The question at the heart of Deliver Us From Evil, a garden-variety serial-killer thriller tarted up as an exorcism drama, is not whether good will triumph over evil. Rather, it’s this: What in God’s name possesses good actors to make dreck like this?
    • 60 Metascore
    • 37 Michael O'Sullivan
    What’s missing here is something, or rather, someone, to care about.
    • 63 Metascore
    • 37 Michael O'Sullivan
    Ozon has created a monster that he can’t seem to let go of. Isabelle doesn’t just frighten her mother (and us). She seems to terrify Ozon, and I’m not sure I want to know why.
    • 40 Metascore
    • 37 Michael O'Sullivan
    3 Days to Kill feels like two very different movies, neither of which is particularly good.
    • 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.