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 When Marnie Was There
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1212 movie reviews
    • 41 Metascore
    • 37 Michael O'Sullivan
    Despite Blomkamp’s efforts to make some kind of commentary about the human soul, which the auteur bolsters with his trademark social consciousness — a tone of preachiness that, after three films, has worn out its welcome — the movie exhibits precious little humanity.
    • 30 Metascore
    • 37 Michael O'Sullivan
    Although Kill Me Three Times includes a few murders, it does nothing to justify its title. Mostly, it just shoots itself in the foot, over and over.
    • 25 Metascore
    • 37 Michael O'Sullivan
    Monday at 11:01 a.m. would probably work well as a half-hour television episode or a short story. As a feature film, unfortunately, it feels a bit like clock watching.
    • 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
    Sabotage doesn’t exactly glorify violence, but it certainly does get off on it.
    • 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.
    • 34 Metascore
    • 37 Michael O'Sullivan
    There are goofy, primal pleasures to be had in the first two-thirds of the film. But Beyond the Reach exceeds even its humble grasp in the final act, collapsing in a clatter of blockheaded manhunter-movie cliches. Crazy is one thing, but dumb is unforgivable.
    • 54 Metascore
    • 37 Michael O'Sullivan
    The Signal has visual style to burn. And it takes good advantage of the current state of paranoia arising from our surveillance culture and the pervasive mistrust in government. On paper, this sounds like a good formula. If handled well, it could really pay off.
    • 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.
    • 71 Metascore
    • 37 Michael O'Sullivan
    The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
    • 30 Metascore
    • 37 Michael O'Sullivan
    Little Boy is a as phony as a game of three-card monte.
    • 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.
    • 47 Metascore
    • 37 Michael O'Sullivan
    The aptly subtitled Night at the Museum: Secret of the Tomb is a blast of dead air and mummified humor.
    • 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.
    • 28 Metascore
    • 37 Michael O'Sullivan
    See You in Valhalla, which is being released simultaneously in select theaters and on demand, is as deadly as its funereal subject matter.
    • 33 Metascore
    • 37 Michael O'Sullivan
    Everything is needlessly tangled and bewildering.
    • 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.
    • 55 Metascore
    • 37 Michael O'Sullivan
    Tusk seems to harbor no grander ambitions than to create a gross-out gag.
    • 66 Metascore
    • 37 Michael O'Sullivan
    The film by the stylish fantasist Guillermo del Toro looks marvelous, but has a vein of narrative muck at its core.
    • 32 Metascore
    • 37 Michael O'Sullivan
    Watching Addicted is like eating Cheese Whiz straight from the jar. There’s no nutritional value. It’s kind of embarrassing. But it does satisfy a base craving for cheap, immediate sensation.
    • 60 Metascore
    • 37 Michael O'Sullivan
    Fans of Greenaway’s work — a mix of the brainy, the controversial and the grotesque — won’t necessarily be surprised by any of this. They may, however, be disappointed at how little of it actually works.
    • 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
    There’s a whiff of autoerotic indulgence that carries over to the entire film, which despite its handsome black-and-white aesthetic and gloss of social critique seems a bit too smugly self-satisfied for its own good.
    • 29 Metascore
    • 37 Michael O'Sullivan
    There are no surprises here, only blandly reassuring homilies.
    • 52 Metascore
    • 37 Michael O'Sullivan
    Rudderless is a competent, well-acted melodrama, yet in scope and ambition it has the modest and serviceable scale of the small, not silver, screen.
    • 40 Metascore
    • 37 Michael O'Sullivan
    A bustling, overly busy mess.
    • 40 Metascore
    • 37 Michael O'Sullivan
    The film isn’t awful. There are moments of handsome cinematography and occasional effects that both frighten and impress.
    • 47 Metascore
    • 37 Michael O'Sullivan
    I Saw the Light isn’t just incohesive, but ultimately — and far more frustratingly — incoherent.
    • 30 Metascore
    • 37 Michael O'Sullivan
    The Boy Next Door plays best as unintentional comedy.

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