Michael O'Sullivan

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For 1,167 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 2.5 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Goodnight Mommy
Lowest review score: 0 Tomcats
Score distribution:
1167 movie reviews
    • 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.
    • 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
    Visually, Brick Mansions is a duller and more conventional film than “District B13,“ which was, if nothing else, a sourball-flavored form of eye candy.
    • 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.
    • 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
    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?
    • 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.
    • 26 Metascore
    • 37 Michael O'Sullivan
    It’s a lazy piece of work, even by the low standards of Hollywood horror movies.
    • 55 Metascore
    • 37 Michael O'Sullivan
    Tusk seems to harbor no grander ambitions than to create a gross-out gag.
    • 29 Metascore
    • 37 Michael O'Sullivan
    There are no surprises here, only blandly reassuring homilies.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 37 Michael O'Sullivan
    Heedless of purpose, Horns charges full speed ahead anyway, ramming its high-concept hooey down your throat until the only heat you feel is from indigestion.
    • 36 Metascore
    • 37 Michael O'Sullivan
    So maybe some of this is hilarious. Heck, maybe all of it is. It will not be everyone’s cup of tea, and it was not mine.
    • 24 Metascore
    • 37 Michael O'Sullivan
    The air inside the pyramid isn’t the only thing that’s stale in this ludicrous yet mildly likable horror film.
    • 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.
    • 30 Metascore
    • 37 Michael O'Sullivan
    The Boy Next Door plays best as unintentional comedy.
    • 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.
    • 54 Metascore
    • 37 Michael O'Sullivan
    Weber’s main point — that bullies are often victims of bullying themselves — gets lost in a tsunami of sorrow and sadism.
    • 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.
    • 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.
    • 30 Metascore
    • 37 Michael O'Sullivan
    Little Boy is a as phony as a game of three-card monte.
    • 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.
    • 41 Metascore
    • 37 Michael O'Sullivan
    The Christian-themed Where Hope Grows wears its heart on its sleeve, hawking its message of salvation through faith to anyone who’s in the market for cheesy uplift and saccharine sentiment. It’s a soft sell, to be sure, but it’s salesmanship all the same.
    • 52 Metascore
    • 37 Michael O'Sullivan
    The “Insidious” franchise, after three attempts to exorcise its real demons, still can’t seem to shake what really haunts it: the ghost of B-movies past.
    • 64 Metascore
    • 37 Michael O'Sullivan
    What Polar Bear really lacks is hindsight. It is a little girl’s valentine to her father, without the benefit of bittersweet wisdom that comes with age.
    • 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.
    • 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.
    • 45 Metascore
    • 30 Michael O'Sullivan
    So rich in processed sugar, canned sentiment and schmaltz, I thought I was going to throw up.

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