Michael O'Sullivan
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For 1,006 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 2.4 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 Most Wanted Man
Lowest review score: 0 Tomcats
Score distribution:
1,006 movie reviews
    • 66 Metascore
    • 80 Michael O'Sullivan
    In this modern retelling of the well-known fable, she is one princess-in-waiting who does not need rescuing by any knight in shining armor. [31 Jul 1998, Pg. N.47]
    • Washington Post
    • 82 Metascore
    • 80 Michael O'Sullivan
    The sprawling cast, the naturalistic, overlapping dialogue (here by screenwriter Jenny Lumet, daughter of director Sidney) and the swirling action: it seemed pure Robert Altman.
    • 75 Metascore
    • 80 Michael O'Sullivan
    It's in this final chapter that the director states his message, which is handled so lightly, almost incidentally, you might miss it. But it's a profound one. For what the girls learn is that the way to get what they want -- no, need -- isn't by hoarding something, but by letting go.
    • 84 Metascore
    • 80 Michael O'Sullivan
    The line between madness and genius is thin. Not to mention more than amply explored in any number of films about tortured artists. But to look at the almost religious ecstasy on Moreau's face is to feel the artist's passion and be inspired by it.
    • 74 Metascore
    • 75 Michael O'Sullivan
    Like "Butch Cassidy and the Sundance Kid," Flame and Citron is the story of handsome rogues with guns. It's fast-paced, stylish and thrilling.
    • 58 Metascore
    • 75 Michael O'Sullivan
    It does take half the movie before the story --really kicks in. When it does, it'll knock the air out of you.
    • 62 Metascore
    • 75 Michael O'Sullivan
    If you didn't know that it was based on a true story, Skin would be a little hard to believe.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Together, under the assured direction of first-time feature filmmaker Oren Moverman, these three actors tell a story that is at once hard-hitting and bizarrely gentle.
    • 58 Metascore
    • 75 Michael O'Sullivan
    A tale so raucous, raunchy and punch-drunk with love for the rebellious spirit of rawk -- and so disdainful of those who have tried to squelch it -- that it pretty much negates any claims to objectivity, let alone factuality. In other words, it's not a documentary.
    • 73 Metascore
    • 75 Michael O'Sullivan
    In addition to McKay, Danes makes a sassy, sexy Sonja. And Efron more than gets by in his role as the sweet, plucky, starstruck newbie. It's a part that doesn't require much heavy lifting, though.
    • 62 Metascore
    • 75 Michael O'Sullivan
    This trio of losers somehow forms a kind of loony family. Like the one in "Little Miss Sunshine," which also used the metaphor of a broken-down car to drive home its point, the interpersonal dynamics are out of whack, but not unworkable.
    • 76 Metascore
    • 75 Michael O'Sullivan
    It's the rare 2 1/2 -hour film that doesn't make you look at your watch once. The Girl With the Dragon Tattoo is such a film.
    • 56 Metascore
    • 75 Michael O'Sullivan
    Regardless of the silliness of the situation -- or, in truth, because of it -- they're a joy to watch.
    • 58 Metascore
    • 75 Michael O'Sullivan
    Believe it or not, there's life in the old boy yet. After a disappointing third outing, this "Shrek" brings the cycle of fairy-tale-themed films to a fine finish.
    • 46 Metascore
    • 75 Michael O'Sullivan
    It's both straight-faced spy film and sly spy spoof. That's a difficult balancing act, but director James Mangold gets it exactly right.
    • 61 Metascore
    • 75 Michael O'Sullivan
    Sometimes a movie makes a point that's been made before, but makes it so beautifully and so quietly that it feels like you're discovering it for the first time. Hideaway does that, with the obliqueness of an off-hand comment. The glancing touch makes it all the more hard-hitting.
    • 64 Metascore
    • 75 Michael O'Sullivan
    In addition to all the rollicking, ribald humor, Tamara Drewe also has a couple of flashes of darkly comic violence. In a literary sense, it's poetic justice, really. Punishment meted out for bad behavior.
    • 60 Metascore
    • 75 Michael O'Sullivan
    The final, deeply satisfying conclusion to the trilogy of Swedish thrillers based on Stieg Larsson's bestselling novels.
    • 81 Metascore
    • 75 Michael O'Sullivan
    A lean and hungry thing. With the sparest of storytelling, the French filmmaker ("35 Shots of Rum") devours her audience, swallowing us up in a yarn that is as enigmatic as it is engrossing.
    • 53 Metascore
    • 75 Michael O'Sullivan
    After all, it isn't every kid's movie that wrestles with the subject of faith in a higher power, or sin, or the afterlife. And it isn't every kid's film that can do it so entertainingly. Sure, that's heavy stuff if you're looking for it. But it doesn't spoil the great, great fun to be had in Narnia - or the magical spell it casts - if you're not.
    • 59 Metascore
    • 75 Michael O'Sullivan
    Rolls straight over silly, smashing through stupid without stopping and then barreling into a kind of insane comic brilliance without so much as a speed bump to slow it down.
    • 66 Metascore
    • 75 Michael O'Sullivan
    The most compelling thing about Winter in Wartime, the Netherlands' official entry for Best Foreign Language Film at this year's Oscars, is not the story. And the story is pretty darn compelling.
    • 66 Metascore
    • 75 Michael O'Sullivan
    Like the best ad man, he makes his point by making us laugh.
    • 45 Metascore
    • 75 Michael O'Sullivan
    Bad role models sometimes make the most interesting movie characters. The ill-mannered, unkempt, foulmouthed and hot-tempered title character of Hesher is just such a walking contradiction.
    • 85 Metascore
    • 75 Michael O'Sullivan
    It's a muscular, physical movie, pieced together from arresting imagery and revelatory gestures, large and small.
    • 77 Metascore
    • 75 Michael O'Sullivan
    The real value of poetry - of the contest itself - is not revealed until the closing credits, when we see the impressive list of colleges that the movie's four subjects have gone on to.
    • 64 Metascore
    • 75 Michael O'Sullivan
    It isn't as sad a movie as "Joan Rivers: A Piece of Work," another behind-the-mask documentary. It's funnier. But it's just as illuminating.
    • 68 Metascore
    • 75 Michael O'Sullivan
    What is their passion for? Not newspapers, or even a single newspaper, per se, but for journalism itself, the practice of which is nowhere stronger than at the Times. That, at least, is how Page One argues it. It's a compelling argument.
    • 59 Metascore
    • 75 Michael O'Sullivan
    A movingly told tale of tragedy and its consequences, not just for the players in the original tragedy but also for those touched by their actions, in an ever-widening circle of aftershocks.
    • 64 Metascore
    • 75 Michael O'Sullivan
    The Hedgehog is a treat: a movie that's smart, grown-up, wry and deeply moving. Best of all, this is accomplished with the lightest of cinematic strokes. It sneaks up on you, without grandstanding, melodrama or outright jokes.