Michael O'Sullivan

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For 1,205 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 2.9 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Incendies
Lowest review score: 0 Tomcats
Score distribution:
1205 movie reviews
    • 41 Metascore
    • 50 Michael O'Sullivan
    The film is not without its pleasures. Kidman and Firth lend the pulpy material a certain prestige, even if Strong comes across as simply another plot device (and a perplexing one at that).
    • 56 Metascore
    • 50 Michael O'Sullivan
    Miss Julie is a strangely clinical movie experience. It’s a story that makes an impression without leaving a mark.
    • 31 Metascore
    • 50 Michael O'Sullivan
    Not quite documentary, yet by no means drama, Inside the Mind of Leonardo is what might be called poetic biography: maddeningly fragmentary and idiosyncratic, but 100 percent true.
    • 26 Metascore
    • 50 Michael O'Sullivan
    The film dutifully cleaves to the contours of a well-established and viscerally satisfying formula.
    • 66 Metascore
    • 50 Michael O'Sullivan
    Without at least the tawdry pleasure of a little bodice ripping, the film moves along sluggishly, even though it is well acted and handsomely shot.
    • 29 Metascore
    • 50 Michael O'Sullivan
    The film isn’t bad, although it is somewhat repetitive. If it has plot holes, conceptual laziness and an overreliance on dumb-insult humor, the film at least seems to know it. There are lots of self-referential jokes that acknowledge its own stupidity.
    • 59 Metascore
    • 50 Michael O'Sullivan
    Despite some cool camera work and the kind of noir-lite moral ambiguity that barely gets your shoes dirty (courtesy of a shallow script by Brad “Out of the Furnace” Ingelsby), the movie is the cinematic equivalent of junk food. It satisfies the craving for the sensation of nihilism, without its substance.
    • 68 Metascore
    • 50 Michael O'Sullivan
    The film’s steady accumulation of little quirks... soon grow tedious. After a while they’re less delightfully oddball touches with a promise of more to come than dead weight with no payoff.
    • 51 Metascore
    • 50 Michael O'Sullivan
    The bigger mystery is whether the models actually work. Though the Armstrong partisans in the film strongly suggest that they do, director Marcus Vetter struggles to convince the lay viewer.
    • 54 Metascore
    • 50 Michael O'Sullivan
    The movie by Jean-Pierre Améris milks the tears in the home stretch, making little effort to hold the melodrama at bay. The result is a story that everyone can feel great about feeling terrible about.
    • 43 Metascore
    • 50 Michael O'Sullivan
    The dialogue in San Andreas is lame, its plot both predictable and implausible, and the character development beside the point. Even Dwayne Johnson, that force of cinematic nature and rock-ribbed charisma, doesn’t have enough charm to dig this mess of a movie out of the rubble of cliche it’s buried in.
    • 34 Metascore
    • 50 Michael O'Sullivan
    The characters in Aloft seem to float over their strong passions, like birds riding on columns of air, without ever alighting. I kept waiting for the sharp sting of a talon to take hold of my heart, but it never came.
    • 56 Metascore
    • 50 Michael O'Sullivan
    Sure, there’s an undeniable pleasure from watching Pacino and Hunter work the screen, but the syrupy, symbol-heavy script by first-time feature writer Paul Logan is weighed down further by cliches and false notes.
    • 66 Metascore
    • 50 Michael O'Sullivan
    The film is full of quiet little truths.
    • 50 Metascore
    • 50 Michael O'Sullivan
    American Ultra has a clever premise. But it misses several opportunities to at least comment on, if not skewer, the spy movies that it only halfheartedly pokes fun at. As it is, it’s content to generate a low-grade buzz, rather than deliver a true high.
    • 43 Metascore
    • 50 Michael O'Sullivan
    It’s not a bad movie. It’s like several pretty good ones.
    • 49 Metascore
    • 50 Michael O'Sullivan
    It’s Rainn Wilson who steals the show as the cocky physical education teacher who takes charge when the pint-size monsters corner him and his fellow educators.
    • 34 Metascore
    • 50 Michael O'Sullivan
    As Kaulder, Diesel does what he does, rumbling out lines of silly dialogue in his subwoofer of a voice. As far as acting goes, there’s not much.
    • 59 Metascore
    • 50 Michael O'Sullivan
    When Miss You Already works, it’s because of the cast.
    • 34 Metascore
    • 50 Michael O'Sullivan
    My All American plays like an extended highlights reel, not a movie.
    • 51 Metascore
    • 50 Michael O'Sullivan
    Just when you’re about to write off your investment in Criminal Activities, the third-act dividend pays off, in spades.
    • 55 Metascore
    • 50 Michael O'Sullivan
    Hardy is extraordinarily good at evoking the fraught fraternal connection between the Krays.... But the film is ultimately unable to plumb the Krays’ deepest souls, if they even have any.
    • 42 Metascore
    • 50 Michael O'Sullivan
    There are a few laughs here and there. Most come at the expense of Ferrell, who plays the kind of hapless (and occasionally shirtless) straight arrow that the actor could turn out in his sleep.
    • 56 Metascore
    • 50 Michael O'Sullivan
    Joy
    Even Lawrence, in the end, is a letdown. As entertaining and committed as she is — and she’s easily the best thing about Joy — the actress ultimately can’t sell a souffle that’s half baked.
    • 52 Metascore
    • 50 Michael O'Sullivan
    A startlingly inappropriate tragedy in the final act drives home the film’s pacifist message, while virtually ensuring that the youngest and most sensitive viewers will be left in a puddle of tears.
    • 51 Metascore
    • 50 Michael O'Sullivan
    The sense of goofy, if gory, good humor [Copley] brings to Hardcore Henry goes a long way toward mitigating the film’s tedious barbarity.
    • 79 Metascore
    • 50 Michael O'Sullivan
    Aficionados of gore and guts may not mind the comfortably lived-in feel of this blood-spattered Green Room. But anyone looking for the ferocious originality, and unexpected humanity, of “Blue Ruin” will be disappointed by Saulnier’s uninspired cover version of a song we all know.
    • 27 Metascore
    • 50 Michael O'Sullivan
    Nina filters the singer’s voice — and her life — through tinny-sounding speakers and an out-of-focus lens.
    • 56 Metascore
    • 50 Michael O'Sullivan
    The Man Who Knew Infinity tells a great story. It’s just that it’s a little too by-the-book to make anything other than a so-so movie.
    • 47 Metascore
    • 50 Michael O'Sullivan
    There’s something admirable about the fact that Being Charlie exists at all. It’s a testament to Nick Reiner’s survival. That doesn’t mean it’s a great movie.

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