Michael O'Sullivan
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For 1,114 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 2.3 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Shakespeare in Love
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1,114 movie reviews
    • 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.
    • 70 Metascore
    • 75 Michael O'Sullivan
    It’s an informative, if slightly unstructured, narrative, yet it plays more like a horror story.
    • 81 Metascore
    • 75 Michael O'Sullivan
    It’s a haunting story of love between two misfits who shouldn’t be together. In its doomed yet somehow hopeful spirit, it’s closer to the noir sensibility of “Let the Right One In” than the pop-horror of “Twilight.”
    • 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.
    • 74 Metascore
    • 75 Michael O'Sullivan
    It's great fun.
    • 63 Metascore
    • 75 Michael O'Sullivan
    The movie is called Love Crime. But its hidden message has more to do with business than with passion. Hell hath no fury like a woman scorned. Especially one in a power suit, who knows how to work a room.
    • 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.
    • 61 Metascore
    • 75 Michael O'Sullivan
    The story of The Boxtrolls, in lesser hands, might have turned out only so-so. Under Laika’s loving, labor-intensive touch, it takes on a kind of magic.
    • 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.
    • 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.
    • 75 Metascore
    • 75 Michael O'Sullivan
    The film’s writers, directors and stars lovingly impale bloodsucker mythology with the sharpened wooden stick of comedy. As with “Shaun of the Dead,” their satire is a crude but effective tool.
    • 52 Metascore
    • 75 Michael O'Sullivan
    Despite the story’s familiarity, its star manages to turn its many tropes into a winning formula.
    • 66 Metascore
    • 75 Michael O'Sullivan
    For the most part, it works brilliantly.
    • 72 Metascore
    • 75 Michael O'Sullivan
    As a storyteller, Amalric is a master of manipulation, first leading the audience in one direction and then another. The Blue Room is a hall of mirrors, reflecting every detail but making it hard to know where you stand.
    • 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.
    • 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.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Thoughts become things. That's the message of Rise of the Guardians, a charming if slightly dark and cobwebbed animated feature about how believing in something makes it real, or real enough.
    • 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.
    • 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.
    • 65 Metascore
    • 75 Michael O'Sullivan
    In writer-director David Chase's heartfelt delivery, this same old tune somehow comes out sounding fresh.
    • 73 Metascore
    • 75 Michael O'Sullivan
    [A] meandering, deliberate and tearless — yet oddly moving — western vehicle.
    • 66 Metascore
    • 75 Michael O'Sullivan
    That we almost don’t question the plausibility of this oddest of odd couples is a tribute to the sensitive direction of French Canadian filmmaker Maxime Giroux, who wrote the relatable yet keenly observant script with Alexandre Laferrière.
    • 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.
    • 81 Metascore
    • 75 Michael O'Sullivan
    The only artwork by Ai that Klayman's film dwells on at any length -- aside from the iconic "bird's nest" stadium he helped design for the Beijing Olympics, and then denounced as tasteless -- is "Sunflower Seeds." Created for a 2010 exhibition at London's Tate Modern, the installation featured 100 million hand-painted ceramic sunflower seeds spread out on the floor.
    • 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.
    • 66 Metascore
    • 75 Michael O'Sullivan
    Like the best ad man, he makes his point by making us laugh.
    • 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.
    • 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.
    • 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.
    • 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.

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