Michael O'Sullivan

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For 1,281 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 3.7 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Shrek 2
Lowest review score: 0 Tomcats
Score distribution:
1281 movie reviews
    • 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.
    • 79 Metascore
    • 75 Michael O'Sullivan
    Dawn of the Planet of the Apes works both as allegory and action-adventure film. The internecine conflict between apes mirrors the troubled history of our own race.
    • 79 Metascore
    • 88 Michael O'Sullivan
    Arnold also brings to bear a euphoric appreciation for the spirit of freedom and the optimism — if not the innocence — of her subjects, who can seem at once world-weary and hopelessly naive. Call it a form of ecstatic naturalism, one that revels in the ugly paradoxes of life.
    • 79 Metascore
    • 50 Michael O'Sullivan
    Let Me In wants to make your flesh crawl, and it probably will. But it's unlikely to ever get under anyone's skin, the way "Let the Right One In" did.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Hilary and Jackie plumbs the cistern of family dysfunction and musical genius to profound and haunting effect.
    • 78 Metascore
    • 90 Michael O'Sullivan
    Although the cast is uniformly strong, the real revelation here is "The X-Files' " Anderson, who plays Lily with subtle gradations of emotional depth unexpected from someone who has made a career out of deadpan.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Poignant, heartbreaking proof that, sometimes, love is just not enough.
    • 78 Metascore
    • 90 Michael O'Sullivan
    It is difficult to watch, but it's also impossible to take your eyes off the screen. It does not blench at the things that Hollywood routinely blenches at: substance abuse, dying, family dysfunction, love.
    • 78 Metascore
    • 63 Michael O'Sullivan
    In some ways it plays like a horror movie, in other ways it’s almost a documentary. The most interesting thing about the movie is the balance of tone that Laurent strikes between recognition and repulsion.
    • 78 Metascore
    • 90 Michael O'Sullivan
    The disturbing ideas it plants in the soil of the soul need time and darkness ? not light ? to germinate.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Powerful yet ambiguous.
    • 78 Metascore
    • 70 Michael O'Sullivan
    A touching documentary on the immigrant experience -- or at least one very tough slice of it.
    • 78 Metascore
    • 80 Michael O'Sullivan
    Haunting little film, whose chaotic universe is churned up by the conflict between the haves and the have-nots.
    • 78 Metascore
    • 88 Michael O'Sullivan
    A sprawling yet engrossing documentary.
    • 78 Metascore
    • 90 Michael O'Sullivan
    Troubling and powerful film, lingering on screen well into the final credits and in the minds of its audience long after the house lights have come on.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Far from being a historical cautionary tale, Command and Control looks forward, not backward. Kenner’s unsettling film casts its worried gaze not at the accidents that already have taken place, but at the ones yet to happen.
    • 77 Metascore
    • 75 Michael O'Sullivan
    A surprisingly intelligent and effective (if slightly pulpy) psychological thriller.
    • 77 Metascore
    • 63 Michael O'Sullivan
    Wetlands has only a sketchy plot, based largely on Helen’s dreams, fantasies and childhood memories. It isn’t terribly clear where the movie — or its hedonistic heroine — is going, but getting there is one wild ride.
    • 77 Metascore
    • 88 Michael O'Sullivan
    Szifrón handles the tone and presentation masterfully.
    • 77 Metascore
    • 75 Michael O'Sullivan
    It’s hard to say what is most difficult to digest about Prophet’s Prey.
    • 77 Metascore
    • 50 Michael O'Sullivan
    It's an infusion of zip that's sorely needed, because the chief deficiency of A Bug's Life so far is its blandness….The film's other weakness is the low-octane vocal performances of its leading cast.
    • 77 Metascore
    • 90 Michael O'Sullivan
    What the movie may lack in "Saving Private Ryan"-style gloss, it more than makes up for in authenticity, or, in other words, heart.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Together, under the assured direction of first-time feature filmmaker Oren Moverman, these three actors tell a story that is at once hard-hitting and bizarrely gentle.
    • 77 Metascore
    • 75 Michael O'Sullivan
    God Loves Uganda clearly lays the blame for it at the feet of the American evangelical movement. The movie doesn’t really argue its case, preferring to stand back, in quiet outrage, as the representatives of that movement are shown with the match in their hands.
    • 77 Metascore
    • 60 Michael O'Sullivan
    The kind of stunning and contentious work of art that will leave a lot of folks speechless.
    • 77 Metascore
    • 90 Michael O'Sullivan
    Maybe Thomas Wolfe was right: You can't go home again

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