Michael O'Sullivan
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For 1,035 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 2.2 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Night Moves
Lowest review score: 0 Tomcats
Score distribution:
1,035 movie reviews
    • 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.
    • 55 Metascore
    • 60 Michael O'Sullivan
    What modest pleasure the film affords is largely thanks to the charisma of its genial stars.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 60 Michael O'Sullivan
    Despite this tale's surface sheen and propulsive momentum, it never transports one very far.
    • 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.
    • 47 Metascore
    • 60 Michael O'Sullivan
    The film as a whole, while possessing a kind of vicious beauty, feels as cold and as embalmed as a corpse.
    • 47 Metascore
    • 60 Michael O'Sullivan
    It's the Weather Channel on steroids.
    • 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.
    • 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.
    • 54 Metascore
    • 60 Michael O'Sullivan
    Presents an America that is as much about the pathological display of imperial power -- a showmanship of arrogance and violence -- as policy.
    • 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.
    • 66 Metascore
    • 60 Michael O'Sullivan
    Feels like a hazy high that takes too long to shake.
    • 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.
    • 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.
    • 39 Metascore
    • 60 Michael O'Sullivan
    Satisfies and disturbs in just about equal measure.
    • 49 Metascore
    • 60 Michael O'Sullivan
    If Guess Who were either a whole lot funnier, or a whole lot less funny, it would be a far better film.
    • 48 Metascore
    • 60 Michael O'Sullivan
    The pleasure is entirely like eating cake made from cake mix. It's not like you don't know how it's going to turn out, or how it tasted the last time you ate it.
    • 75 Metascore
    • 60 Michael O'Sullivan
    Plays like a piece of mediocre music, gorgeously rendered.
    • 52 Metascore
    • 60 Michael O'Sullivan
    There's something that never quite works about the film.
    • 36 Metascore
    • 60 Michael O'Sullivan
    The movie is pretty unabashed about the all-but-corny sentiment: Each of us has something to give.
    • 41 Metascore
    • 60 Michael O'Sullivan
    Yes, Knowing is creepy, at least for the first two-thirds or so, in a moderately satisfying, if predictable, way.
    • 73 Metascore
    • 50 Michael O'Sullivan
    This slight but insinuating documentary by Abbas Kiarostami...will do nothing to advance or detract from the reputation of the acclaimed Iranian filmmaker.
    • 52 Metascore
    • 50 Michael O'Sullivan
    Based on "Romeo and Juliet" the way a martini is "based" on vermouth.
    • 55 Metascore
    • 50 Michael O'Sullivan
    Those who are only mildly curious, I fear, will be put to sleep or bewildered by the artsy and often pointless visuals.
    • 27 Metascore
    • 50 Michael O'Sullivan
    Rollicks and rolls, thanks mainly to Roth's over-the-top depravity and Xiong's swingin', "Crouching Tiger"-style choreography.
    • 44 Metascore
    • 50 Michael O'Sullivan
    Derivative dumpling of a romantic comedy about Irish sexuality.
    • 31 Metascore
    • 50 Michael O'Sullivan
    At times, it's downright nasty; and that's when I like it best.