Michael O'Sullivan

Select another critic »
For 1,247 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 3.5 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Guardians of the Galaxy
Lowest review score: 0 Tomcats
Score distribution:
1247 movie reviews
    • 81 Metascore
    • 75 Michael O'Sullivan
    It's uncompromisingly steamy, in a way that seems designed to make people who are uncomfortable with a physical relationship between two men even more uncomfortable.
    • 81 Metascore
    • 75 Michael O'Sullivan
    It’s a haunting story of love between two misfits who shouldn’t be together. In its doomed yet somehow hopeful spirit, it’s closer to the noir sensibility of “Let the Right One In” than the pop-horror of “Twilight.”
    • 81 Metascore
    • 90 Michael O'Sullivan
    Part of this success is due to the exquisitely cast ensemble-composed of actors, not movie stars. To a man, woman and child, the unforced performers are spot-on.
    • 81 Metascore
    • 75 Michael O'Sullivan
    The film suggests that it doesn't really matter whether Harris ever gets back in uniform. He's forever carrying around a piece of unexploded ordnance in his head.
    • 81 Metascore
    • 100 Michael O'Sullivan
    It’s a masterful example of genre filmmaking’s ability to transcend its limitations, leaving a viewer not just frightened, but also changed.
    • 81 Metascore
    • 88 Michael O'Sullivan
    That A War both delivers the results one might wish for and denies a sense of closure is not a failing but its chief virtue.
    • 81 Metascore
    • 80 Michael O'Sullivan
    One heck of a tale of deliciously unladylike payback.
    • 81 Metascore
    • 90 Michael O'Sullivan
    An extraordinary film in many ways, the least of which is its unorthodox casting.
    • 81 Metascore
    • 80 Michael O'Sullivan
    Strangely moving film.
    • 81 Metascore
    • 75 Michael O'Sullivan
    The only artwork by Ai that Klayman's film dwells on at any length -- aside from the iconic "bird's nest" stadium he helped design for the Beijing Olympics, and then denounced as tasteless -- is "Sunflower Seeds." Created for a 2010 exhibition at London's Tate Modern, the installation featured 100 million hand-painted ceramic sunflower seeds spread out on the floor.
    • 81 Metascore
    • 75 Michael O'Sullivan
    Elaine Stritch’s strength, along with the film’s, comes from her honesty. She is herself, even when — maybe especially when — she knows she’s being watched.
    • 81 Metascore
    • 88 Michael O'Sullivan
    Filmmaker Davis Guggenheim's scathing, moving critique of American public education, makes you actually want to do something after you dry your eyes.
    • 80 Metascore
    • 80 Michael O'Sullivan
    With its wise understanding of the magnetic pull (and invisible polarities) of family, Junebug is an auspicious debut for Morrison.
    • 80 Metascore
    • 100 Michael O'Sullivan
    It knocks you off your feet and leaves you shaken.
    • 80 Metascore
    • 90 Michael O'Sullivan
    Wickedly clever drama.
    • 80 Metascore
    • 75 Michael O'Sullivan
    By looking closely, clinically and ultimately compassionately at one eccentric practitioner of a dying way of life...Peter and the Farm nevertheless manages to harvest not just understanding of one peculiar, broken little man, but a broader wisdom about the cycle of seasons that we all must endure on this planet.
    • 80 Metascore
    • 80 Michael O'Sullivan
    Could hardly be more suspenseful if it were scripted.
    • 80 Metascore
    • 50 Michael O'Sullivan
    It's hard not to feel a certain affection for a tale that is so unapologetic about just that: affection.
    • 80 Metascore
    • 80 Michael O'Sullivan
    A touching and unusual road movie-cum-buddy film.
    • 80 Metascore
    • 20 Michael O'Sullivan
    Miyazaki, like an evil sorcerer, has plucked the heart out of Jones's story and left it there to die.
    • 80 Metascore
    • 90 Michael O'Sullivan
    By land or by sea, there aren't many movies that can move you like that.
    • 80 Metascore
    • 88 Michael O'Sullivan
    The make-believe world of Boy and the World is confusing, scary and gorgeous. But then again, so is the real one.
    • 80 Metascore
    • 75 Michael O'Sullivan
    As Finders Keepers gets weirder, it also gets better and deeper. Somehow, Carberry and Tweel have managed to fashion an inspirational tale out of what one local newscaster calls a “freak show.”
    • 80 Metascore
    • 75 Michael O'Sullivan
    It's a gorgeous and, believe it or not, riveting documentary . . . about sheep.
    • 79 Metascore
    • 75 Michael O'Sullivan
    Winter on Fire has all the immediacy and power of drama. If it lacks the dispassionate context of more balanced journalism, it makes up for it with a complex, contradictory emotional impact that is simultaneously demoralizing and hopeful.
    • 79 Metascore
    • 50 Michael O'Sullivan
    The insecurities that seem to feed Rivers's often angry humor -- and that have left her face looking like a mask frozen in horror -- are left unexamined.
    • 79 Metascore
    • 63 Michael O'Sullivan
    The morale of [Scorsese's] story is ultimately both tough and nuanced.
    • 79 Metascore
    • 90 Michael O'Sullivan
    Their characters' desire (Scott Thomas and Zylberstein) -- no, need -- to repair their fragile bond feels as achingly real as the mother lode of hidden pain that gets exposed by the work of these two great actresses.
    • 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.
    • 79 Metascore
    • 75 Michael O'Sullivan
    What happened to almost an entire generation of musicians in Cambodia isn’t a scandal. As “Forgotten” makes powerfully, passionately clear, it’s a tragedy.

Top Trailers