Michael O'Sullivan
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For 1,016 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 The Disappearance of Eleanor Rigby: Them
Lowest review score: 0 Tomcats
Score distribution:
1,016 movie reviews
    • 39 Metascore
    • 25 Michael O'Sullivan
    At nearly two hours, the movie feels bloated. It could easily lose 30 minutes, give or take, and live. It would still not, however, live up to its title.
    • 50 Metascore
    • 25 Michael O'Sullivan
    It's hard to imagine that any self-respecting man would want to sit through two hours - let alone two minutes - of such caustic man-bashing.
    • 51 Metascore
    • 25 Michael O'Sullivan
    That's the problem with the whole movie, which lies halfway between poker-face documentary and broad farce.
    • 33 Metascore
    • 25 Michael O'Sullivan
    Unnecessary and unfunny re-imagining of the classic satire by Jonathan Swift.
    • 36 Metascore
    • 25 Michael O'Sullivan
    This Arthur is an exercise in time-travel tedium, a trip to the Land That Funny Forgot.
    • 27 Metascore
    • 25 Michael O'Sullivan
    Did you hear about the Morgans? Trust me, you don't want to.
    • 59 Metascore
    • 25 Michael O'Sullivan
    A classic example of a film that doesn't trust the strength of its source material - or the intelligence of its audience.
    • 43 Metascore
    • 25 Michael O'Sullivan
    It gets the bullet points of Sam Childers's life, but misses the target.
    • 35 Metascore
    • 25 Michael O'Sullivan
    What's Your Number? ups the vulgarity, ladling it on top of a rom-com base so insipid and predictable that the only thing to keep you awake is counting the number of times that the script drops the word "vagina."
    • 26 Metascore
    • 25 Michael O'Sullivan
    Mainly for those who are already infatuated with Cena's stoic, Mount Rushmore-esque countenance and who do not find the idea of the big lug leaping off the edge of a cliff onto an airborne helicopter's landing gear remotely absurd.
    • 23 Metascore
    • 25 Michael O'Sullivan
    The unapologetic laziness and ineptitude of Jack's impersonation, which is played for cheap laughs, is just as lazy as Sandler's performance as the real Jill. You don't buy it for a minute.
    • 52 Metascore
    • 25 Michael O'Sullivan
    With Casa de Mi Padre, it's often hard to tell the difference between when it's making fun of bad movies and when it's being one.
    • 42 Metascore
    • 25 Michael O'Sullivan
    The high-school sports drama Crooked Arrows has two -- but only two -- original selling points: Its protagonists are Native Americans and the sport in question is lacrosse. That's something you don't see every day. Other than that, however, the film's moves are taken straight out of "The Bad News Bears" playbook.
    • 57 Metascore
    • 25 Michael O'Sullivan
    Overlong, overcrowded, overstimulating and with an over-the-top performance by Charlize Theron as the evil queen Ravenna, the movie is a virtual orchard of toxic excess, starting with the unnecessarily sprawling cast of characters.
    • 52 Metascore
    • 25 Michael O'Sullivan
    "Bridesmaids" may have been crude, but it also said something about female friendships that felt true. Bachelorette feels like it's about four women who, not even all that deep down, can't stand one another.
    • 11 Metascore
    • 25 Michael O'Sullivan
    A workmanlike, if treacly and overblown, piece of propaganda. Its effectiveness depends entirely on the degree to which you already believe its talking points.
    • 45 Metascore
    • 25 Michael O'Sullivan
    The whole thing is played for laughs that almost never come. To be sure, the film has its moments, but they’re few and far between.
    • 30 Metascore
    • 25 Michael O'Sullivan
    To make matters worse, this third “Hangover” is dull.
    • 33 Metascore
    • 25 Michael O'Sullivan
    You can’t blame Will Smith for wanting to give his son a leg up in the business. Maybe one day Jaden will have his father’s career — and his ability to carry a movie. For now, it’s a little premature to ask him to bear the weight of this soggy, waterlogged “Earth” on his skinny shoulders.
    • 19 Metascore
    • 25 Michael O'Sullivan
    The message of The Ultimate Life could be summed up on a greeting card. Or rather, 12 greeting cards.
    • 34 Metascore
    • 25 Michael O'Sullivan
    It’s more silly than scary.
    • 59 Metascore
    • 25 Michael O'Sullivan
    By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy’s Thanksgiving Day Parade floats. They’re just as lifeless and inexpressive, too.
    • 28 Metascore
    • 25 Michael O'Sullivan
    The self-conscious affectation of the film would be funny, were it not so smug.
    • 22 Metascore
    • 25 Michael O'Sullivan
    Salva certainly gets points for creative repurposing. Much of what transpires in Dark House has been seen before, just not all in the same movie.
    • 49 Metascore
    • 25 Michael O'Sullivan
    The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
    • 38 Metascore
    • 20 Michael O'Sullivan
    Wild Wild Waste is more like it. Waste of time, waste of money and colossal waste of talent.
    • 34 Metascore
    • 20 Michael O'Sullivan
    I'm not sure if it was that or the cloying script, but after a couple of hours of spinning around listening to this drivel I felt like I was going to barf.
    • 16 Metascore
    • 20 Michael O'Sullivan
    Propelled not by characters but caricatures.
    • 30 Metascore
    • 20 Michael O'Sullivan
    A field goal, not a touchdown.
    • 72 Metascore
    • 20 Michael O'Sullivan
    It's the sort of movie that can make normally well-read and intelligent viewers feel stupid.