For 1,001 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 2.1 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
Average review score: 57
Highest review score: 100 The Missing Picture
Lowest review score: 0 Tomcats
Score distribution:
1,001 movie reviews
    • 36 Metascore
    • 30 Michael O'Sullivan
    The film is so anemic you should probably order iron supplements with your popcorn, its plot so predictable it makes falling dominoes seem like a white-knuckle thrill ride.
    • 64 Metascore
    • 30 Michael O'Sullivan
    It has as much of an ax to grind as the humorless and misguided bureaucrats it mocks.
    • 42 Metascore
    • 30 Michael O'Sullivan
    A film so boring, unsexy, styleless, sluggish and physically ugly that its badness seems almost intentional.
    • 48 Metascore
    • 30 Michael O'Sullivan
    What is perhaps most disappointing about this ham-handed film, though, particularly since it was directed by the screenwriter of the righteously raging "Thelma and Louise," is its crypto-misogyny.
    • 31 Metascore
    • 30 Michael O'Sullivan
    One hackneyed, inauthentic, predictable scene after another.
    • 26 Metascore
    • 30 Michael O'Sullivan
    Gives new meaning to the word "obvious."
    • 35 Metascore
    • 30 Michael O'Sullivan
    Moves at a glacial pace.
    • 62 Metascore
    • 30 Michael O'Sullivan
    If you're mocking holier-than-thou-ness, you can't very well strike a hipper-than-thou tone.
    • 44 Metascore
    • 30 Michael O'Sullivan
    As a whole, the film is a perplexing, dark and brooding exercise, which only makes its inappropriately cheery ending feel all the more slight.
    • 30 Metascore
    • 30 Michael O'Sullivan
    Less a movie than a meticulously, tediously accurate Civil War reenactment committed to celluloid.
    • 44 Metascore
    • 30 Michael O'Sullivan
    Actually underserves its star, who is better than schlocky material like this would lead you to believe.
    • 24 Metascore
    • 30 Michael O'Sullivan
    As the film's boo! moments get spookier and more frequent, Godsend gets more and more inane.
    • 41 Metascore
    • 30 Michael O'Sullivan
    The title (which translates, essentially, as "burned out") is an apt description of the film itself: a hot and smoldering shell.
    • 39 Metascore
    • 30 Michael O'Sullivan
    Collapses under the weight of its own pretension, a victim of misogyny trying to pass itself off as female sexual empowerment.
    • 74 Metascore
    • 30 Michael O'Sullivan
    The film, like the cheap double-scotches quaffed down by the central character, leaves a distinctly sour aftertaste that's hard to wash away the morning after.
    • 36 Metascore
    • 30 Michael O'Sullivan
    Functional but tiresome.
    • 32 Metascore
    • 30 Michael O'Sullivan
    Simply painful to watch as the doomed vehicle it's trapped in comes whistling toward a fiery crash landing.
    • 49 Metascore
    • 30 Michael O'Sullivan
    Less a tale of mysterious, tragic love than a three-way Harlequin romance.
    • 45 Metascore
    • 30 Michael O'Sullivan
    So rich in processed sugar, canned sentiment and schmaltz, I thought I was going to throw up.
    • 57 Metascore
    • 30 Michael O'Sullivan
    The film stars Bruce Campbell of the "Evil Dead" series as Elvis in a touching, funny and at times grotesque performance that is actually the best thing about the movie.
    • 38 Metascore
    • 30 Michael O'Sullivan
    It's a question of tone, which jumps back and forth between airy-fairy romantic comedy and leaden family drama with the alacrity of a manic-depressive.
    • 63 Metascore
    • 30 Michael O'Sullivan
    The film's maudlin focus on the young woman's infirmity and her naive dreams play like the worst kind of Hollywood heart-string plucking.
    • 52 Metascore
    • 30 Michael O'Sullivan
    It's less a children's movie made for contemporary children than a children's movie made for people who still remember, and pine for, how children's movies were made 50 years ago.
    • 53 Metascore
    • 30 Michael O'Sullivan
    A soundtrack buried inside a sitcom.
    • 43 Metascore
    • 30 Michael O'Sullivan
    The filmmaker drowns his trademark edgy stew of smutty humor, stiff acting and dime-store insight into human nature with a gravy of glutinous bathos, making for a singularly unpalatable dish.
    • 63 Metascore
    • 30 Michael O'Sullivan
    Not enough to keep this celluloid ship from sinking under the weight of its own stupidity.
    • 48 Metascore
    • 30 Michael O'Sullivan
    Did I laugh? Yeah, I did, half a dozen times. Not a great percentage for a film with something close to 300 quote-unquote jokes.
    • 27 Metascore
    • 30 Michael O'Sullivan
    Goes nowhere fast.
    • 36 Metascore
    • 30 Michael O'Sullivan
    The psychologizing in Party Monster never goes deeper than what you might get out of Dr. Phil on a bad day.
    • 33 Metascore
    • 30 Michael O'Sullivan
    It's a silly, giggly piece of pink-colored fluff, as hyperactive as its heroine and as redolent of bubble gum and Love's Baby Soft cologne as Lola apparently is. Yet the superficial sweetness masks something rotten.