Michael O'Sullivan
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For 1,053 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 Ernest & Célestine
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,053 movie reviews
    • 48 Metascore
    • 75 Michael O'Sullivan
    Admission is not especially funny. The trailer can’t seem to make up its mind. On the one hand, it looks like a satire of academia. On the other hand, it could be a gentle rom-com. In truth, it’s neither.
    • 57 Metascore
    • 75 Michael O'Sullivan
    At its core, The Company You Keep is a good, solid thriller about a fugitive trying to clear his name. But it’s a much more interesting movie at the edges.
    • 68 Metascore
    • 75 Michael O'Sullivan
    As usual, Marling is a pleasure to watch for the psychological complexity and contradictions of her character. This time, the story almost lives up to the performance.
    • 65 Metascore
    • 75 Michael O'Sullivan
    Crystal, 65, and Goodman, 61, are a long time out of college, but they somehow manage to carry off the callowness of youth.
    • 74 Metascore
    • 75 Michael O'Sullivan
    On one level, The Attack is a mystery, but not the kind you think. It’s obvious from the start who detonated the bomb; the only question is why. It’s a question that probably cannot be answered to the satisfaction of anyone living outside Israel or the occupied territories.
    • 83 Metascore
    • 75 Michael O'Sullivan
    It’s a story of standing out and blending in, sometimes at the same time.
    • 80 Metascore
    • 75 Michael O'Sullivan
    It's a gorgeous and, believe it or not, riveting documentary . . . about sheep.
    • 70 Metascore
    • 75 Michael O'Sullivan
    It’s an informative, if slightly unstructured, narrative, yet it plays more like a horror story.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Whatever your belief system, this much is gospel: Movies like The Conjuring are less about the battle between God and Satan than the battle between the silly and the scary.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Populaire is a mostly delightful and entirely unironic throwback to the kind of film they stopped making about 50 years ago.
    • 65 Metascore
    • 75 Michael O'Sullivan
    It’s a compelling, even stirring, tale.
    • 61 Metascore
    • 75 Michael O'Sullivan
    Under the direction of George Tillman Jr., these two young performers exercise remarkable restraint, never milking the material for unearned tears.
    • 53 Metascore
    • 75 Michael O'Sullivan
    It’s as affecting as drama as it is effective as horror. It wrenches, even as it unnerves.
    • 77 Metascore
    • 75 Michael O'Sullivan
    God Loves Uganda clearly lays the blame for it at the feet of the American evangelical movement. The movie doesn’t really argue its case, preferring to stand back, in quiet outrage, as the representatives of that movement are shown with the match in their hands.
    • 51 Metascore
    • 75 Michael O'Sullivan
    Ender’s Game is more than a parable about bullying, or a disquisition on the concept of the “just war.” It’s also a rousing action film, especially in Imax.
    • 74 Metascore
    • 75 Michael O'Sullivan
    By the end of this troubling film, the cognitive dissonance that it highlights — between the theoretical glorification of the illegal Mexican drug industry and its actual cost in blood — is jarring. It’s an important film, but Narco Cultura is also maddeningly hard to watch.
    • 66 Metascore
    • 75 Michael O'Sullivan
    The second part of Peter Jackson’s “The Hobbit” trilogy goes a long way — and at 2 1/2 hours, I do mean long — toward righting the wrongs of the first movie, which was even longer.
    • 52 Metascore
    • 75 Michael O'Sullivan
    The film is an effective, even heartwarming, tale of one man’s commitment to teaching that playing by the rules is more important than winning.
    • 76 Metascore
    • 75 Michael O'Sullivan
    Tim’s Vermeer makes a convincing case that Vermeer could have painted the way Jenison says he did. It also makes a pretty powerful ancillary point: that some people are both geniuses and geeks.
    • 57 Metascore
    • 75 Michael O'Sullivan
    The films are highly entertaining and highly disturbing, in the latter case for both the right and the wrong reasons. While admirably delineating moral decay, which eats away at one character like a virus, the movies never really get at the seed of evil.
    • 81 Metascore
    • 75 Michael O'Sullivan
    Elaine Stritch’s strength, along with the film’s, comes from her honesty. She is herself, even when — maybe especially when — she knows she’s being watched.
    • 48 Metascore
    • 75 Michael O'Sullivan
    Director Neil Burger (“Limitless”) has crafted a popcorn flick that’s leaner, more propulsive and more satisfying than the bestseller that inspired it.
    • 87 Metascore
    • 75 Michael O'Sullivan
    It plays out with all the suspense of a thriller. Assisted by acclaimed editor Walter Murch, Levinson wisely shapes the story not around the hardware, which was plagued by malfunctions and other delays, but around the people tasked with making the LHC run.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Trinca delivers a marvelously unfussy performance, rendering her complex character gradually, along with the effects of the opposing forces that tear at her.
    • 61 Metascore
    • 75 Michael O'Sullivan
    Oculus director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since “The Conjuring.”
    • 56 Metascore
    • 75 Michael O'Sullivan
    For No Good Reason rambles too much for its own good, compared to more traditional documentaries. The most rewarding parts of the film feature Steadman simply talking about his influences (Picasso, among others) and his youthful goal of changing the world through art.
    • 71 Metascore
    • 75 Michael O'Sullivan
    Fed Up isn’t so much a warning to the ignorant shopper or a tip for the unimaginative chef as it is a rallying cry. It succeeds in firing up the choir. Whether it will convert the complacent is an open question.
    • 74 Metascore
    • 75 Michael O'Sullivan
    Days of Future Past is, in itself, as intoxicating as a shot of adrenaline. It’s what summer movies are meant to be.
    • 73 Metascore
    • 75 Michael O'Sullivan
    The first half of Cold is tense and suspenseful, albeit in a conventional way; the second half is sickeningly compelling. It’s hard to watch and hard to look away from.
    • 62 Metascore
    • 75 Michael O'Sullivan
    Puenzo has a knack for plumbing the heads and hearts of teenage girls. The director coaxes a mesmerizing, unmannered performance out of Bado, who is making her feature-film debut.

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