For 1,001 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 2.1 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
Average review score: 57
Highest review score: 100 Mr. Nobody
Lowest review score: 0 Tomcats
Score distribution:
1,001 movie reviews
    • 30 Metascore
    • 25 Michael O'Sullivan
    The movie itself is already like one long commercial.
    • 20 Metascore
    • 25 Michael O'Sullivan
    Playing a hero who's meant to be something akin to the young Dalai Lama, Ringer brings less than zero gravitas to the role. He makes the kid who plays Gibby on "iCarly" look like Sir Laurence Olivier.
    • 65 Metascore
    • 25 Michael O'Sullivan
    Wild Grass might be the strangest film I've seen all year. Maybe all millennium. Is it any good? Quite frankly, I have no idea.
    • 40 Metascore
    • 25 Michael O'Sullivan
    A comedy that looks like a documentary but plays like a horror film -- to parents of teenagers.
    • 36 Metascore
    • 25 Michael O'Sullivan
    The littlest children in your house may find something to titter at from time to time, but based on the reaction of a young screening audience, it won't be often.
    • 28 Metascore
    • 25 Michael O'Sullivan
    Suffers from an increasingly common movie defect: appealing, sharply drawn supporting characters, and a cast of main characters that is as unlikely as it is unlikable.
    • 39 Metascore
    • 25 Michael O'Sullivan
    At nearly two hours, the movie feels bloated. It could easily lose 30 minutes, give or take, and live. It would still not, however, live up to its title.
    • 50 Metascore
    • 25 Michael O'Sullivan
    It's hard to imagine that any self-respecting man would want to sit through two hours - let alone two minutes - of such caustic man-bashing.
    • 51 Metascore
    • 25 Michael O'Sullivan
    That's the problem with the whole movie, which lies halfway between poker-face documentary and broad farce.
    • 33 Metascore
    • 25 Michael O'Sullivan
    Unnecessary and unfunny re-imagining of the classic satire by Jonathan Swift.
    • 36 Metascore
    • 25 Michael O'Sullivan
    This Arthur is an exercise in time-travel tedium, a trip to the Land That Funny Forgot.
    • 27 Metascore
    • 25 Michael O'Sullivan
    Did you hear about the Morgans? Trust me, you don't want to.
    • 59 Metascore
    • 25 Michael O'Sullivan
    A classic example of a film that doesn't trust the strength of its source material - or the intelligence of its audience.
    • 43 Metascore
    • 25 Michael O'Sullivan
    It gets the bullet points of Sam Childers's life, but misses the target.
    • 35 Metascore
    • 25 Michael O'Sullivan
    What's Your Number? ups the vulgarity, ladling it on top of a rom-com base so insipid and predictable that the only thing to keep you awake is counting the number of times that the script drops the word "vagina."
    • 26 Metascore
    • 25 Michael O'Sullivan
    Mainly for those who are already infatuated with Cena's stoic, Mount Rushmore-esque countenance and who do not find the idea of the big lug leaping off the edge of a cliff onto an airborne helicopter's landing gear remotely absurd.
    • 23 Metascore
    • 25 Michael O'Sullivan
    The unapologetic laziness and ineptitude of Jack's impersonation, which is played for cheap laughs, is just as lazy as Sandler's performance as the real Jill. You don't buy it for a minute.
    • 52 Metascore
    • 25 Michael O'Sullivan
    With Casa de Mi Padre, it's often hard to tell the difference between when it's making fun of bad movies and when it's being one.
    • 42 Metascore
    • 25 Michael O'Sullivan
    The high-school sports drama Crooked Arrows has two -- but only two -- original selling points: Its protagonists are Native Americans and the sport in question is lacrosse. That's something you don't see every day. Other than that, however, the film's moves are taken straight out of "The Bad News Bears" playbook.
    • 57 Metascore
    • 25 Michael O'Sullivan
    Overlong, overcrowded, overstimulating and with an over-the-top performance by Charlize Theron as the evil queen Ravenna, the movie is a virtual orchard of toxic excess, starting with the unnecessarily sprawling cast of characters.
    • 52 Metascore
    • 25 Michael O'Sullivan
    "Bridesmaids" may have been crude, but it also said something about female friendships that felt true. Bachelorette feels like it's about four women who, not even all that deep down, can't stand one another.
    • 11 Metascore
    • 25 Michael O'Sullivan
    A workmanlike, if treacly and overblown, piece of propaganda. Its effectiveness depends entirely on the degree to which you already believe its talking points.
    • 45 Metascore
    • 25 Michael O'Sullivan
    The whole thing is played for laughs that almost never come. To be sure, the film has its moments, but they’re few and far between.
    • 30 Metascore
    • 25 Michael O'Sullivan
    To make matters worse, this third “Hangover” is dull.
    • 33 Metascore
    • 25 Michael O'Sullivan
    You can’t blame Will Smith for wanting to give his son a leg up in the business. Maybe one day Jaden will have his father’s career — and his ability to carry a movie. For now, it’s a little premature to ask him to bear the weight of this soggy, waterlogged “Earth” on his skinny shoulders.
    • 19 Metascore
    • 25 Michael O'Sullivan
    The message of The Ultimate Life could be summed up on a greeting card. Or rather, 12 greeting cards.
    • 33 Metascore
    • 25 Michael O'Sullivan
    It’s more silly than scary.
    • 59 Metascore
    • 25 Michael O'Sullivan
    By visual standards alone, the characters, rendered in eye-popping 3-D, resemble nothing so much as Macy’s Thanksgiving Day Parade floats. They’re just as lifeless and inexpressive, too.
    • 28 Metascore
    • 25 Michael O'Sullivan
    The self-conscious affectation of the film would be funny, were it not so smug.
    • 22 Metascore
    • 25 Michael O'Sullivan
    Salva certainly gets points for creative repurposing. Much of what transpires in Dark House has been seen before, just not all in the same movie.
    • 49 Metascore
    • 25 Michael O'Sullivan
    The film defies one of the fundamental rules of capitalism: Exploitation of the proletariat may be well and good, but don’t execute them all. At the same time, “The Purge: Anarchy” obeys a cardinal law of Hollywood: Shoot first and ask questions later.
    • 38 Metascore
    • 20 Michael O'Sullivan
    Wild Wild Waste is more like it. Waste of time, waste of money and colossal waste of talent.
    • 34 Metascore
    • 20 Michael O'Sullivan
    I'm not sure if it was that or the cloying script, but after a couple of hours of spinning around listening to this drivel I felt like I was going to barf.
    • 16 Metascore
    • 20 Michael O'Sullivan
    Propelled not by characters but caricatures.
    • 30 Metascore
    • 20 Michael O'Sullivan
    A field goal, not a touchdown.
    • 72 Metascore
    • 20 Michael O'Sullivan
    It's the sort of movie that can make normally well-read and intelligent viewers feel stupid.
    • 25 Metascore
    • 20 Michael O'Sullivan
    Most of the comedy, such as it is, consists of the uppity Chase acting "street" and the ghetto-fabulous Tiffany putting on moneyed airs. But, if you've seen the trailers, you already know that.
    • 54 Metascore
    • 20 Michael O'Sullivan
    Feels more like "Porky's" with marinara sauce than "Summer of '42."
    • 33 Metascore
    • 20 Michael O'Sullivan
    There was absolutely no reason to make a new version of the 1970 comedy.
    • 46 Metascore
    • 20 Michael O'Sullivan
    Do not be concerned if laughter trickles out of the scary parts or boredom creeps into the funny parts; this is to be expected.
    • 37 Metascore
    • 20 Michael O'Sullivan
    Oddly off-balance, estrogen-powered dramedy.
    • 47 Metascore
    • 20 Michael O'Sullivan
    Allegations of governmental double-talk and cover-ups are, unfortunately, boooring.
    • 54 Metascore
    • 20 Michael O'Sullivan
    Awash in the kind of pretension that only the French can get away with.
    • 33 Metascore
    • 20 Michael O'Sullivan
    It's all too, too cute and too, too forced for words -- not to mention too, too dark.
    • 32 Metascore
    • 20 Michael O'Sullivan
    For a comedy, there are precious few real laughs. Three to be exact.
    • 57 Metascore
    • 20 Michael O'Sullivan
    There's so much wrong with this movie.
    • 47 Metascore
    • 20 Michael O'Sullivan
    Neither funny nor suspenseful nor particularly well drawn.
    • 36 Metascore
    • 20 Michael O'Sullivan
    The real problem is not the maudlin script or Madden's travelogue touch. It's Cage as Corelli, a miscasting that turns the normally volatile, edgy performer into little more than a spokesman for the Olive Garden.
    • 48 Metascore
    • 20 Michael O'Sullivan
    A feel-good movie only in the sense that it wants to reassure today's white people about our own enlightenment and how far we've come in the evolution of our attitudes about race.
    • 32 Metascore
    • 20 Michael O'Sullivan
    The makers of Godzilla obviously devoted so much manpower and time and energy and money to the admittedly fabulous special effects that they apparently had no budget left over for actors.
    • 18 Metascore
    • 20 Michael O'Sullivan
    The story here is just not particularly amusing.
    • 43 Metascore
    • 20 Michael O'Sullivan
    The jokes are lame, the set-up is stupid and Bullock, occasionally a winsome comedienne and here a co-producer, is annoying as heck.
    • 29 Metascore
    • 20 Michael O'Sullivan
    The drug-fueled romp turns ugly, sexist and misogynistic, as so many rap-star vehicles do.
    • 21 Metascore
    • 20 Michael O'Sullivan
    Cinematic sleeping pill.
    • 49 Metascore
    • 20 Michael O'Sullivan
    I never forgot for a minute that I was watching a cartoon, all the way down to the silly, pseudo-spiritual ending, an ending whose very incomprehensibility is actually one of the more endearing hallmarks of anime.
    • 29 Metascore
    • 20 Michael O'Sullivan
    Even the Richard Rich-directed animation -- except for some nice but gratuitous computer-generated walking statues and dramatic ocean waves -- is not appreciably better than Saturday morning cartoons.
    • 6 Metascore
    • 20 Michael O'Sullivan
    The laughs are few, far between and pretty darn faint in this comedy.
    • 23 Metascore
    • 20 Michael O'Sullivan
    Here, common sense flies out the window, along with the hail of bullets.
    • 48 Metascore
    • 20 Michael O'Sullivan
    Its important if inflammatory message will bore all but Chomsky's fellow travelers to death.
    • 30 Metascore
    • 20 Michael O'Sullivan
    Full of the kind of obnoxious chitchat that only self-aware neurotics engage in. Christopher and Grace probably deserve each other, but that doesn't mean that any of us do.
    • 22 Metascore
    • 20 Michael O'Sullivan
    I can't imagine why anyone would pay money to see this sorry excuse for a film, which plays more like a home movie than something from cinema professionals.
    • 40 Metascore
    • 20 Michael O'Sullivan
    Clumsily under-written and feverishly overacted, it's as embarrassing to watch as it is perplexing.
    • 9 Metascore
    • 20 Michael O'Sullivan
    So bad that I predict there will be drinking games set around viewing it someday.
    • 40 Metascore
    • 20 Michael O'Sullivan
    A limp and exceedingly uninvolving melodrama.
    • 50 Metascore
    • 20 Michael O'Sullivan
    Too highbrow for the multiplex and too literal for the hipsters, it's unsatisfying both as gothic camp and serious cinema.
    • 57 Metascore
    • 20 Michael O'Sullivan
    A loud, choppily edited and surprisingly unengaging portrait of speed demons.
    • 70 Metascore
    • 20 Michael O'Sullivan
    Very much like sex. On second thought, make that bad sex. Actually, sexual assault is more like it. It will leave you feeling used, bruised, violated, mistrustful and unclean.
    • 13 Metascore
    • 20 Michael O'Sullivan
    It plays like a soft-core-porn potboiler left over from the 1970s about a hot vampire chick.
    • 80 Metascore
    • 20 Michael O'Sullivan
    Miyazaki, like an evil sorcerer, has plucked the heart out of Jones's story and left it there to die.
    • 30 Metascore
    • 20 Michael O'Sullivan
    Anyone with a modicum of good sense -- or a weak stomach -- will take it as a warning to stay the heck away from this literally and figuratively deadly "War Zone."
    • 50 Metascore
    • 12 Michael O'Sullivan
    "Welcome to the Rileys"? Thanks, but no thanks.
    • 38 Metascore
    • 12 Michael O'Sullivan
    Insipid, unfunny and cliche-ridden.
    • 17 Metascore
    • 12 Michael O'Sullivan
    There really is no other movie on Earth quite like it. And that's including "The Human Centipede: First Sequence," the 2009 horror film on which this dismal, nauseating and yet bizarrely artful sequel is based.
    • 28 Metascore
    • 12 Michael O'Sullivan
    As it is, The Divide is simply noxious for noxiousness's sake. French director Xavier Gens and writers Karl Mueller and Eron Sheean almost seem to take a kind of perverse pride in seeing how far they can go.
    • 37 Metascore
    • 12 Michael O'Sullivan
    The only reason you'll feel any wrath is because you shelled out 12 bucks for this steaming bucket of half-baked plot, cliched dialogue and disappointing 3-D special effects.
    • 31 Metascore
    • 12 Michael O'Sullivan
    That's My Boy is radical only in its extreme laziness.
    • 36 Metascore
    • 12 Michael O'Sullivan
    It's hard to know who exactly Parental Guidance was made for.
    • 63 Metascore
    • 12 Michael O'Sullivan
    How on earth is it possible for one film to be so tiresome? Spring Breakers isn’t deadly dull despite all the nudity and violence, but because of it.
    • 1 Metascore
    • 12 Michael O'Sullivan
    A more accurate title would be “Inept, Inadequate and Insipid Comedy.”
    • 55 Metascore
    • 12 Michael O'Sullivan
    Despite its plentiful and playful sexuality, this dose of Spanish fly is anything but exciting.
    • 52 Metascore
    • 10 Michael O'Sullivan
    True to the film's name, there is one thing I couldn't hardly wait for, and that's the closing credits.
    • 48 Metascore
    • 10 Michael O'Sullivan
    From opening to closing credits, there isn't a single genuine moment -- as phony as a dime bag of oregano.
    • 23 Metascore
    • 10 Michael O'Sullivan
    For da love of God, spare me.
    • 26 Metascore
    • 10 Michael O'Sullivan
    The movie is really just an elaborate excuse to show repeated close-ups of an elephantine dog scrotum.
    • 42 Metascore
    • 10 Michael O'Sullivan
    A numbingly unfunny romantic comedy. I hated every minute of it
    • 14 Metascore
    • 10 Michael O'Sullivan
    Maybe I should let a role of the dice determine whether I use a cudgel or a broadsword to put this puppy out of its misery.
    • 29 Metascore
    • 10 Michael O'Sullivan
    An appallingly dull film set in the world of professional racing, director Renny Harlin and screenwriter Sylvester Stallone have found a way to drain all the adrenaline out of the sport.
    • 23 Metascore
    • 10 Michael O'Sullivan
    Hopeless rip-off of Hitchcock's "The Birds."
    • 22 Metascore
    • 10 Michael O'Sullivan
    Confusing as heck.
    • 35 Metascore
    • 10 Michael O'Sullivan
    An unoriginal warming over of a skimpy Japanese production that has been re-edited, rescored and rewritten for American tots and padded out to feature length with a plotless short called "Pikachu's Vacation."
    • 35 Metascore
    • 10 Michael O'Sullivan
    The gratuitous vulgarity is just one more reason that Scooby-Doo should never have left the pound.
    • 52 Metascore
    • 10 Michael O'Sullivan
    There's a thin line between some drag comedy and misogyny, and Girls Will Be Girls, a crass comedy in which all the women are played, with over-the-top abandon, by men, roars past that line.
    • 38 Metascore
    • 10 Michael O'Sullivan
    The film degenerates into sophomoric name calling and a brand of insult humor that would embarrass Don Rickles.
    • 40 Metascore
    • 10 Michael O'Sullivan
    For a suspense drama, Impact is a slack, oddly enervated and mawkish soup of largely lethargic performances.
    • 30 Metascore
    • 10 Michael O'Sullivan
    Tries to put your tear ducts in a headlock with a litany of catastrophes.
    • 42 Metascore
    • 10 Michael O'Sullivan
    A hideously unfunny spy spoof with pretensions to social satire in its treatment of a lesbian relationship.
    • 35 Metascore
    • 10 Michael O'Sullivan
    Involves such a disturbing blend of unhealthy mother-son affection and physical pain that it gives new meaning to the term child -- not to mention audience -- abuse.
    • 54 Metascore
    • 10 Michael O'Sullivan
    Unfortunately, the dramatic potential of such a moral quandary is left largely unmined in director Joseph Ruben's monotonous parlor game of will-he-won't-he. [14 Aug 1998, Pg. N.39]
    • 15 Metascore
    • 0 Michael O'Sullivan
    Go expecting the very worst. Just don't expect to laugh.
    • 37 Metascore
    • 0 Michael O'Sullivan
    A stupid and violent delicacy, congealed nachos and Mountain Dew for the Beavis-and-Butt-head set.