Michael O'Sullivan

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For 1,335 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 4 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Ernest & Célestine
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1335 movie reviews
    • 66 Metascore
    • 63 Michael O'Sullivan
    There’s an appealing quaintness to the storytelling that calls to mind the Tintin books of the artist and writer Hergé, especially that series’s old-world charm.
    • 58 Metascore
    • 50 Michael O'Sullivan
    Jason Bourne belongs to Damon and Greengrass, whose admirable — and entirely appropriate — goal of playing it for kicks comes across, this time around, as an oddly joyless chore.
    • 68 Metascore
    • 75 Michael O'Sullivan
    It may not boldly go where no “Star Trek” film has gone before, but it gets there at warp speed, and with a full tank of fresh ideas.
    • 58 Metascore
    • 88 Michael O'Sullivan
    For a movie that relies so heavily on a single, not especially groundbreaking visual effect — now you see the bogeyman, now you don’t — Lights Out is crazy scary.
    • 57 Metascore
    • 63 Michael O'Sullivan
    It’s pretty obvious, with the controversy surrounding Trump’s political ascendancy, that there is a built-in market for a film that makes him and his business surrogates out to be both callous bullies and buffoons.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Microbe and Gasoline doesn’t reinvent the wheel, but it just might ride four of them into your heart.
    • 68 Metascore
    • 75 Michael O'Sullivan
    The vérité style of filmmaking is slow and sometimes monotonous, making it all the more surprising that you will probably find yourself bawling your eyes out — without ever knowing how you got to that state — at the film’s profoundly, heartbreakingly somber conclusion.
    • 61 Metascore
    • 50 Michael O'Sullivan
    The humor is generic. And the film’s most obvious comparison — it’s been called “Toy Story” with animals — only points up the one thing “Pets” lacks, and that any animal lover will tell you their furred and feathered friends have, in spades: personality.
    • 57 Metascore
    • 63 Michael O'Sullivan
    There’s little of the poetry that Perry teaches in the script, but the story’s mechanics are solid.
    • 59 Metascore
    • 63 Michael O'Sullivan
    Is The Shallows a thriller for the ages? No, but it’s decent popcorn fare. It’s about as deep as the titular lagoon on which it’s set, but the breakers promise a short and heart-pounding ride, with no wipeout.
    • 51 Metascore
    • 25 Michael O'Sullivan
    If Refn is trying to skewer our cultural fixation with youth and good looks, his blade isn’t up to the task. The Neon Demon attacks, but indiscriminately. It’s sharp-looking but dull, hacking and plunging every which way, yet drawing no real blood.
    • 65 Metascore
    • 63 Michael O'Sullivan
    The Conjuring 2 satisfies more than it disappoints.
    • 46 Metascore
    • 63 Michael O'Sullivan
    The film is, at times, almost sinfully fun, assuming you have a taste for self-indulgently logic-free hedonism.
    • 75 Metascore
    • 75 Michael O'Sullivan
    The climate change documentary A Time to Choose takes what often seems like an oblique approach to the subject of global warming.
    • 40 Metascore
    • 63 Michael O'Sullivan
    "Out of the Shadows” isn’t going to win any awards, good or bad. Neither an embarrassment nor a triumph, it is nevertheless an improvement over the last film.
    • 71 Metascore
    • 75 Michael O'Sullivan
    Director Rodrigo Plá, working from a spare yet jangly screenplay by Laura Santullo, steadily builds suspense, craftily calibrating subtle shifts in perspective that allow us to alternate, seamlessly, between impartial observers and, as it were, active participants.
    • 52 Metascore
    • 63 Michael O'Sullivan
    At times, “Apocalypse” can be great fun, even if it doesn’t know when to hand its car keys to a friend and ask to be taken home.
    • 24 Metascore
    • 12 Michael O'Sullivan
    It’s hard to know which of the film’s many flaws to cite first, so here’s one thing it does fairly well: scare the bejesus out of you. That’s assuming you have read nothing about the subject of vaccines and autism, and are of a generally lax and incurious mind when it comes to the rigors of scientific inquiry.
    • 72 Metascore
    • 50 Michael O'Sullivan
    Sunset Song is a gritty and gorgeous film. Perhaps a little too gorgeous, in fact, and not gritty enough.
    • 65 Metascore
    • 50 Michael O'Sullivan
    The overly schematic nature of High-Rise does not entirely diminish its pleasures as a story, which include, in addition to Wheatley’s richly lurid visual sensibility, an effective metaphorical tool in Laing.
    • 47 Metascore
    • 50 Michael O'Sullivan
    There’s something admirable about the fact that Being Charlie exists at all. It’s a testament to Nick Reiner’s survival. That doesn’t mean it’s a great movie.
    • 71 Metascore
    • 37 Michael O'Sullivan
    The director Alexander Sokurov is a visual virtuoso. So it’s odd, not to mention a bit disappointing, to find that the Russian filmmaker’s latest project, Francofonia, is so talky and, with rare exceptions, visually dull.
    • 69 Metascore
    • 63 Michael O'Sullivan
    The story is slightly melodramatic, but director Paddy Breathnach finds ways to make it surprisingly moving at times, in the same way that he makes the Havana slums look paradoxically beautiful.
    • 56 Metascore
    • 50 Michael O'Sullivan
    The Man Who Knew Infinity tells a great story. It’s just that it’s a little too by-the-book to make anything other than a so-so movie.
    • tbd Metascore
    • 37 Michael O'Sullivan
    Mrazek, who certainly knows the workings of this city from his 10 years in office, has written a script that feels accurate in its depiction of the mudslinging, lobbying chicanery and constituent grumbling that come with the job of politician. It’s just that little of it is terribly fresh or funny, and it draws no blood.
    • 72 Metascore
    • 75 Michael O'Sullivan
    Garrone has created a world of both rich and ugly textures — visual, narrative and imaginative — that transports, delights and imparts disturbing lessons.
    • 27 Metascore
    • 50 Michael O'Sullivan
    Nina filters the singer’s voice — and her life — through tinny-sounding speakers and an out-of-focus lens.
    • 70 Metascore
    • 88 Michael O'Sullivan
    Along with his regular co-writer Eskil Vogt, Trier has crafted a profoundly beautiful and strange meditation on secrets, lies, dreams, memories and misunderstanding.
    • 79 Metascore
    • 50 Michael O'Sullivan
    Aficionados of gore and guts may not mind the comfortably lived-in feel of this blood-spattered Green Room. But anyone looking for the ferocious originality, and unexpected humanity, of “Blue Ruin” will be disappointed by Saulnier’s uninspired cover version of a song we all know.
    • 33 Metascore
    • 63 Michael O'Sullivan
    Although genuinely gripping — at times, uncomfortably so — the tale of Lena and Daniel’s efforts to escape from Colonia and expose its abuses suffers from a heavy-handed telling.

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