Michael O'Sullivan
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For 1,088 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 Missing Picture
Lowest review score: 0 Tomcats
Score distribution:
1,088 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 63 Michael O'Sullivan
    For the most part, The Other Guys is seriously silly stuff, in the best sense.
    • 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.
    • 68 Metascore
    • 63 Michael O'Sullivan
    It's powerful stuff, but I almost felt like I needed an intermission.
    • 53 Metascore
    • 63 Michael O'Sullivan
    It is Markus's sensitivity to nuance and to the feelings of others that characterizes every step that he - and this sure-footed if off-kilter film - takes.
    • 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.
    • 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."
    • 65 Metascore
    • 60 Michael O'Sullivan
    One half of a very funny movie, and half a funny movie is better than none.
    • 61 Metascore
    • 60 Michael O'Sullivan
    A mediocre production that nevertheless will strike a deep and resonant chord with viewers.
    • 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.
    • 66 Metascore
    • 60 Michael O'Sullivan
    Feels like a hazy high that takes too long to shake.
    • 65 Metascore
    • 60 Michael O'Sullivan
    In the end Monsieur N. could use a little less cloak-and-dagger and more of what made "The Emperor's New Clothes" work, i.e., heart.
    • 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.
    • 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.
    • 68 Metascore
    • 60 Michael O'Sullivan
    Despite this tale's surface sheen and propulsive momentum, it never transports one very far.
    • 71 Metascore
    • 60 Michael O'Sullivan
    The smart but slight film implodes under the weight of its own "excessive linguistic pressure."
    • 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.
    • 49 Metascore
    • 60 Michael O'Sullivan
    It's effectively frightening. It's just not the kind of frightening that stays with you very long, unless of course someone decides to make the same movie . . . yet again.
    • 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.
    • 55 Metascore
    • 60 Michael O'Sullivan
    What modest pleasure the film affords is largely thanks to the charisma of its genial stars.
    • 75 Metascore
    • 60 Michael O'Sullivan
    Plays like a piece of mediocre music, gorgeously rendered.
    • 46 Metascore
    • 60 Michael O'Sullivan
    That script – co-written by Terry Hayes and director Brian Helgeland – is almost too noir for its own good at times, but Gibson somehow manages to pull its implausibility off.
    • 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.
    • 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.
    • 36 Metascore
    • 60 Michael O'Sullivan
    The movie is pretty unabashed about the all-but-corny sentiment: Each of us has something to give.
    • 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.
    • 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.

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