Michael O'Sullivan
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For 1,090 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 Turtles Can Fly
Lowest review score: 0 Tomcats
Score distribution:
1,090 movie reviews
    • 50 Metascore
    • 30 Michael O'Sullivan
    Comes across less as a fully realized work of storytelling than as a commercial for a corporation whose goal of entertainment has been replaced by that of making money.
    • 65 Metascore
    • 30 Michael O'Sullivan
    It's hard to say exactly what the point is to this sour tale.
    • 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.
    • 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.
    • 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.
    • 22 Metascore
    • 30 Michael O'Sullivan
    It would be one thing if Christmas With the Kranks were a satire on the assaultive, bullying nature of contemporary Christmas celebration in this country, but it's not. It's an ugly glorification of it.
    • 75 Metascore
    • 30 Michael O'Sullivan
    Feels like something I know is supposed to be good for me, but that I just couldn't stomach.
    • 31 Metascore
    • 30 Michael O'Sullivan
    One hackneyed, inauthentic, predictable scene after another.
    • 68 Metascore
    • 30 Michael O'Sullivan
    It's a silly, if simultaneously deadpan and stomach-churning, psychological portrait of one crazy lady.
    • 27 Metascore
    • 30 Michael O'Sullivan
    I started out this journey actually liking children. By the end of the movie, I wasn't so sure.
    • 20 Metascore
    • 30 Michael O'Sullivan
    Lacks "spark."
    • 59 Metascore
    • 30 Michael O'Sullivan
    A syrupy Italian power ballad along the lines of the ones on the movie's soundtrack. Its tune is mawkish, bombastic but, in the end, not especially resonant.
    • 59 Metascore
    • 30 Michael O'Sullivan
    It becomes, after a while, little more than a mind-numbing bloodbath.
    • 38 Metascore
    • 30 Michael O'Sullivan
    It's so over the top, the top isn't even visible in the rear-view mirror.
    • 29 Metascore
    • 30 Michael O'Sullivan
    Seriously, though, watching New in Town left me feeling as pained as Zellweger, playing Lucy Hill, looks.
    • 38 Metascore
    • 30 Michael O'Sullivan
    Nosedive it does, abandoning all pretense of style and eccentricity for at-times laughable predictability and a parade of unconvincing red herrings straight out of Murder Mystery 101.
    • 45 Metascore
    • 30 Michael O'Sullivan
    Brit actors can't even be bothered to speak with French accents.
    • 61 Metascore
    • 30 Michael O'Sullivan
    The notions of the good man's complicity through inertia and of innocence tarnished by association are ones that have been more powerfully explored before.
    • 51 Metascore
    • 30 Michael O'Sullivan
    An offering so endearingly lame it seems to have missed the past 10 years' worth of special-effects breakthroughs.
    • 45 Metascore
    • 30 Michael O'Sullivan
    There are a couple of good things about the film, chief among which is Land's naturalistic performance. But the overall sense of it, heightened by a folk-guitar score so spare it feels like part of the soundtrack is missing, is not one of poignant minimalism but emptiness.
    • 25 Metascore
    • 30 Michael O'Sullivan
    A protracted and only sporadically imaginative menu of ways to be murdered.
    • 44 Metascore
    • 30 Michael O'Sullivan
    Actually underserves its star, who is better than schlocky material like this would lead you to believe.
    • 32 Metascore
    • 30 Michael O'Sullivan
    This time-travel scenario is by now shopworn, and the normally riotous Lawrence, a manic and gifted clown, is hamstrung in his efforts to eke humor from the anemic script.
    • 34 Metascore
    • 30 Michael O'Sullivan
    What it suffers from most is the sense of offhand storytelling that lies halfway between creative laziness and cost-cutting sloppiness.
    • 35 Metascore
    • 30 Michael O'Sullivan
    The dialogue is often drowned out by engine noise.
    • 36 Metascore
    • 30 Michael O'Sullivan
    Sure, I laughed. Yes, I cried. But mostly I just wanted to throw up.
    • 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.
    • 44 Metascore
    • 30 Michael O'Sullivan
    It doesn't satisfy in the way a good thriller ought to.
    • 66 Metascore
    • 30 Michael O'Sullivan
    One overly busy (not to mention shopworn) story, which regurgitates everything from H.G. Wells's "The Island of Dr. Moreau" to the herky-jerky monsters of Ray Harryhausen to James Bond to "The Mummy."

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