Michael O'Sullivan
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For 1,006 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 2.4 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 American Movie
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,006 movie reviews
    • 55 Metascore
    • 60 Michael O'Sullivan
    A generally well-made tale of humor and hard luck.
    • 57 Metascore
    • 60 Michael O'Sullivan
    A blackhearted little film. What's being marketed as a frothy French confection about jealousy (specifically the jealousy of a regular guy married to a famous movie star) also just so happens to be a portrait of a marriage going down the toilet.
    • 49 Metascore
    • 60 Michael O'Sullivan
    It's a pretty compelling yarn, not to mention full of pretty pictures, and yet it could be so much more than that.
    • 40 Metascore
    • 60 Michael O'Sullivan
    Although Monkeybone will undoubtedly make you laugh at its slapstick highjinks, the irony is that for a movie that's ultimately about soul, that's the one commodity that's in precious short supply up on the screen.
    • 70 Metascore
    • 60 Michael O'Sullivan
    Charming but slight comedy.
    • 74 Metascore
    • 60 Michael O'Sullivan
    There's actually a lot going on in this little movie, and first-time feature director Stephen Daldry, turning his talents from the theater, handles all of it deftly.
    • 66 Metascore
    • 60 Michael O'Sullivan
    Feels like a hazy high that takes too long to shake.
    • 71 Metascore
    • 60 Michael O'Sullivan
    Cares not a whit for such arbitrary concepts as justice, crime or punishment. It understands the relativism of right and wrong and takes a kind of perverse pleasure in reminding us that there are some things we'll never know.
    • 71 Metascore
    • 60 Michael O'Sullivan
    The smart but slight film implodes under the weight of its own "excessive linguistic pressure."
    • 76 Metascore
    • 60 Michael O'Sullivan
    A well-crafted story with a unique voice. But its literary gifts are outweighed by its pictorial prosaicness. Dimming the screen in every shot is the unmistakable shadow of the page.
    • 65 Metascore
    • 60 Michael O'Sullivan
    One half of a very funny movie, and half a funny movie is better than none.
    • 65 Metascore
    • 60 Michael O'Sullivan
    In trying to compose a poetic love letter to a time of liberation and freedom, Haynes has merely conjured up memories of druggy excess, egotism and tight trousers. The only mementos worth saving from the experience are available on the soundtrack.
    • 47 Metascore
    • 60 Michael O'Sullivan
    Sappy but sweet B-ball Cinderella story that succeeds thanks largely to the outsize charm of its 4-foot-8-inch, corn-rowed protagonist.
    • 52 Metascore
    • 60 Michael O'Sullivan
    Despite the unforced humor and honesty in the performances of its young and talented cast, The Wood spends too much time wallowing in arrested adolescence to make you feel you've traveled anywhere.
    • 64 Metascore
    • 60 Michael O'Sullivan
    As a rule, the drawn and computer-animated imagery is top notch and seamlessly integrated, but the central characters' tawny complexions and the often chiaroscuro lighting sometimes obscure all but the whites of their eyes and their pearl-perfect teeth.
    • 69 Metascore
    • 60 Michael O'Sullivan
    Fitfully amusing and ultimately kind of heartwarming in a twisted sort of way
    • 44 Metascore
    • 60 Michael O'Sullivan
    There are a number of surprises in the idiosyncratic film, and one of its pleasures is the oblique and unchronological way in which Ward peels away the layers of the story, flashing backward and forward in time and jumping between Earth and the Beyond, separating his scenes with blindingly blank, white-out screens.
    • 41 Metascore
    • 60 Michael O'Sullivan
    It is this sense of real life blurring with make-believe that Allen's film is really playing with, like a kitten toying with a scared mouse. Back and forth he bats the subject, moving between reality, illusion and the imitation of reality with a deft touch that may bruise but never kills.
    • 43 Metascore
    • 60 Michael O'Sullivan
    Meet Joe Black is Hopkins's movie and, despite the film's unnecessary length, his quiet and dignified performance almost carries the ball across the finish line.
    • 76 Metascore
    • 60 Michael O'Sullivan
    While not exactly a cop-out, Virgin may leave some viewers who crave traditional closure with the same hollow ache described by the narrator as follows: "What lingered after them was not life but the most trivial list of mundane facts."
    • 60 Metascore
    • 60 Michael O'Sullivan
    It is also, despite the all-too-rare focus on the Filipino American community, a creakily familiar take on an age-old family dynamic.
    • 68 Metascore
    • 60 Michael O'Sullivan
    Despite this tale's surface sheen and propulsive momentum, it never transports one very far.
    • 35 Metascore
    • 60 Michael O'Sullivan
    It's no worse than any number of other cookie-cutter slasher flicks geared for the slightly post-pubescent market.
    • 68 Metascore
    • 60 Michael O'Sullivan
    A jaundiced view of litigation, however authentic, is not necessarily the stuff of great drama, even of the legal-thriller variety, which by definition is confined to a claustrophobic courtroom.
    • 38 Metascore
    • 60 Michael O'Sullivan
    A tad preachy and more than a little bit sanctimonious.
    • 53 Metascore
    • 60 Michael O'Sullivan
    Make no mistake. This is partisan filmmaking at its most gleefully unapologetic. Unless they're also masochists, Bill Clinton haters and Ken Starr fans will know better than to buy a ticket.
    • 70 Metascore
    • 60 Michael O'Sullivan
    If these repugnant people were really your friends and neighbors, your time would be more profitably spent reading the real estate listings than the movie reviews. But for 1 1/2 hours in a darkened theater, the derailment of their unhealthy emotions makes for one compulsively watchable train wreck.
    • 34 Metascore
    • 60 Michael O'Sullivan
    Where Town and Country gets really good and weird – and I do mean good – is only after about an hour into it in deepest, darkest Idaho.
    • 30 Metascore
    • 60 Michael O'Sullivan
    A considerable cut above the crop of recent features by other 'SNL' alums.
    • Washington Post
    • 55 Metascore
    • 60 Michael O'Sullivan
    What modest pleasure the film affords is largely thanks to the charisma of its genial stars.