Michael O'Sullivan
Select another critic »
For 1,074 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 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 A Simple Plan
Lowest review score: 0 Tomcats
Score distribution:
1,074 movie reviews
    • 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.
    • 68 Metascore
    • 63 Michael O'Sullivan
    Adler nicely harnesses the mounting volatility of this situation, which builds to an intense if tragic conclusion.
    • 55 Metascore
    • 63 Michael O'Sullivan
    Though writer-director Richard Shepard (“The Matador”) knows how to spin a yarn about the vicissitudes of fate, Dom’s adventures make for a pretty thin garment in which to cloth such an outsize antihero.
    • 59 Metascore
    • 63 Michael O'Sullivan
    The film is less deeply affecting than merely admirable. It’s a good, slick and well-intentioned film that wants so hard to be an important one that the slight feeling of letdown it leaves is magnified.
    • 58 Metascore
    • 63 Michael O'Sullivan
    There’s a far more interesting movie taking place alongside this more than slightly silly one.
    • 26 Metascore
    • 63 Michael O'Sullivan
    The story’s message may not be the most original one in the world — put down your device and make eye contact — but it’s fun to watch it unfold in a world that, while far from realistic, feels real enough.
    • 62 Metascore
    • 63 Michael O'Sullivan
    Fortunately, the monsters are actually kind of a kick. And isn’t that why you go to see a movie like this anyway?
    • 68 Metascore
    • 63 Michael O'Sullivan
    The Double retains all of Dostoevsky’s central themes. Madness, alienation and the loss of identity swirl around the film’s edges like film-noir fog. At the same time, the filmmakers inject a much-needed dose of dark humor into the tale.
    • 44 Metascore
    • 63 Michael O'Sullivan
    The real problem with A Million Ways to Die in the West is one of editing. There are a million jokes in it, but only 500,000 of them are funny.
    • 67 Metascore
    • 63 Michael O'Sullivan
    “Restrepo” felt like the story of how boys become men. Korengal feels like the story of how strangers become family.
    • 73 Metascore
    • 63 Michael O'Sullivan
    The absence of legal details makes the movie something of a cheat. It offers few insights about the case from the official side, let alone about the machinations of Ai’s legal team.
    • 60 Metascore
    • 63 Michael O'Sullivan
    It’s a thoughtful and workmanlike portrait, but a less than profoundly moving one.
    • 36 Metascore
    • 63 Michael O'Sullivan
    Segel and Diaz are gifted and game comedians, with a lot of audience appeal. But Lowe clearly upstages them, consummating their Sex Tape — and making you want to roll over and have a cigarette — while there’s still one reel to go.
    • 57 Metascore
    • 63 Michael O'Sullivan
    The film ends with an ambiguous, yet powerful conclusion. It doesn’t answer the question it raises, yet the way it’s asked keeps it echoing in your head. Except that Cahill can’t seem to leave well enough alone.
    • 54 Metascore
    • 63 Michael O'Sullivan
    The sense, in the first half of the film, that love and contentment are attainable dreams slowly gives way to the more existential notion that happiness is really just a fairy tale.
    • 51 Metascore
    • 63 Michael O'Sullivan
    The final destination of A Five Star Life is well worth the wait, but the service is so slow that some viewers may check out early.
    • tbd Metascore
    • 63 Michael O'Sullivan
    Pay 2 Play makes no new revelations... The difference with this movie is that it actually means to inspire hope.
    • 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.
    • 56 Metascore
    • 63 Michael O'Sullivan
    Take Me to the River includes just enough history of the civil rights era to lend it gravitas. The color-blind recording practices of studios like Stax were an anomaly at the time and are well worth noting. But it’s the music people will want to hearken to.
    • 60 Metascore
    • 63 Michael O'Sullivan
    Despite the film’s heavy-handed effort at vindication, Renner manages to deliver a performance that is complex and satisfyingly contradictory.
    • 64 Metascore
    • 63 Michael O'Sullivan
    It’s engaging and watchable, even as it marches toward a seemingly suicidal climax. Yet the complex dynamic between Wardaddy and his men is far more fascinating.
    • tbd Metascore
    • 63 Michael O'Sullivan
    A lovingly laid-back documentary about the charms, liquid and otherwise, of the traditional Irish watering hole.
    • 72 Metascore
    • 63 Michael O'Sullivan
    The movie is an intellectual puzzle, the outcome of which is never in doubt. Its minor thrills come not from not knowing what will happen, but from watching the cagey choreography of two acrobatic minds.
    • 59 Metascore
    • 63 Michael O'Sullivan
    Jackson’s storytelling at this point is so driven by green-screen trickery and digital legerdemain that he seems to have forgotten about human emotion.

Top Trailers