Michael O'Sullivan
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For 1,062 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 2.1 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 Past
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,062 movie reviews
    • 53 Metascore
    • 63 Michael O'Sullivan
    It's cute. So is the movie. If it never rises to greatness, it may be because it's also a fairly formulaic romcom.
    • 42 Metascore
    • 63 Michael O'Sullivan
    Both terribly silly and a lot of fun.
    • 49 Metascore
    • 63 Michael O'Sullivan
    It's the flaws that Kurtzman builds into People Like Us that make it interesting.
    • 68 Metascore
    • 63 Michael O'Sullivan
    A solid and subtly moving portrait of the people of Burma.
    • 50 Metascore
    • 63 Michael O'Sullivan
    Refreshingly free of hot air.
    • 68 Metascore
    • 63 Michael O'Sullivan
    It's powerful stuff, but I almost felt like I needed an intermission.
    • 62 Metascore
    • 63 Michael O'Sullivan
    Hello I Must Be Going isn't heavy lifting, to be sure. But it's still worthy of a little end zone dance.
    • 51 Metascore
    • 63 Michael O'Sullivan
    Snitch is protein-and-starch filmmaking at its utilitarian -- and belly-filling -- best. Johnson brings the steak; Bernthal the sizzle. The father-son drama is served up as sauce on the side. But as long as the beef isn’t too overcooked, who needs the A1?
    • 55 Metascore
    • 63 Michael O'Sullivan
    Just good, goofy fun, for a generation too young to have met Bamm-Bamm.
    • 49 Metascore
    • 63 Michael O'Sullivan
    It’s silly and a bit sappy, but it works, in a crowd-pleasing way.
    • 54 Metascore
    • 63 Michael O'Sullivan
    It’s an engrossing, if complicated and twisty, story, with plentiful sci-fi action and a provocative subtext about the nature of the human soul. At times, however, the balance between those two things feels off.
    • 52 Metascore
    • 63 Michael O'Sullivan
    Enormously visually appealing, even if the story itself is almost unrecognizably bloated.
    • 54 Metascore
    • 63 Michael O'Sullivan
    In the end, its somewhat equivocal message — that nuclear power might just be the lesser of several evils — is more convincing than you’d think.
    • 82 Metascore
    • 63 Michael O'Sullivan
    To refuse to call A Hijacking a thriller is not to say it isn’t thrilling, in a dryly cerebral way. Writer-director Tobias Lindholm has a point to make, and he makes it pungently.
    • 63 Metascore
    • 63 Michael O'Sullivan
    Elemental speaks to the importance of protecting the natural elements: water, air, earth. It’s a beautifully filmed piece, even when it’s showing us white clouds of pollutants billowing out of a smokestack.
    • 57 Metascore
    • 63 Michael O'Sullivan
    The Look of Love also is filled with acres and acres of naked flesh, but it’s the storytelling that keeps you engaged.
    • 66 Metascore
    • 63 Michael O'Sullivan
    The joke seems to be that in 2013, it’s hard to teach an old bloodsucker new tricks. Still, Byzantium has a few moves that might surprise you. They have nothing to do with blood, but everything to do with the heart.
    • 68 Metascore
    • 63 Michael O'Sullivan
    One thing the film does do, if only inadvertently, is offer insight as to how we have gotten to this state of affairs.
    • 66 Metascore
    • 63 Michael O'Sullivan
    It’s a fascinating inside look, made all the more thrilling by Marking’s access to actual Pink Panthers.
    • 55 Metascore
    • 63 Michael O'Sullivan
    The film’s counterintuitive success is largely due to Derbez, who demonstrates why he is beloved, both south and north of the border.
    • 63 Metascore
    • 63 Michael O'Sullivan
    Because The Summit jumps around in time and because the events on the mountain happened over two days and at locations often far apart, the already garbled chronology of deaths is made even more confusing.
    • 44 Metascore
    • 63 Michael O'Sullivan
    Levine brings a lot of visual style to “Mandy,” in addition to coaxing subdued, believable performances from his young cast.
    • 44 Metascore
    • 63 Michael O'Sullivan
    Starbuck was a funny and warm-hearted trifle. So is Delivery Man.
    • 67 Metascore
    • 63 Michael O'Sullivan
    The Armstrong Lie is thorough, fair and thoughtful. It may not, however, close the book on the scandal.
    • 49 Metascore
    • 63 Michael O'Sullivan
    In general, Lee directs with less visual verve than Park. Anchored by Brolin, who brings an almost simian physicality to his portrayal, this Oldboy feels simultaneously less showy, less nightmarish and less epic than the original.
    • 64 Metascore
    • 63 Michael O'Sullivan
    Despite Page’s excellent voiceover, “Bettie Page” suffers from embarrassingly choppy editing and a parade of stock film clips used to illustrate episodes recounted by its subject.
    • 58 Metascore
    • 63 Michael O'Sullivan
    The film feels claustrophobic at times, and stagy. It helps that the supporting cast is uniformly good.
    • 37 Metascore
    • 63 Michael O'Sullivan
    Gimme Shelter has a lighter touch than you might think. Yet there are times when its attempts at wringing drama out of real life are more strenuous than is strictly necessary.
    • 55 Metascore
    • 63 Michael O'Sullivan
    Compared to the “Fast and Furious” films, Hours is a chamber piece, but Walker wrings real pathos out of his instrument.
    • 56 Metascore
    • 63 Michael O'Sullivan
    Collet-Serra, who directed Neeson in “Unknown,” has a knack for keeping things lively and moving forward. There are moments of humor, gripping action and real terror.

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