Michael O'Sullivan
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For 1,071 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 A Simple Plan
Lowest review score: 0 Tomcats
Score distribution:
1,071 movie reviews
    • 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.
    • 52 Metascore
    • 75 Michael O'Sullivan
    If you have a shred of idealism left, it’s hard to watch Citizen Koch without a mounting sense of despair and outrage over the influence that money has come to wield over modern elections.
    • 72 Metascore
    • 75 Michael O'Sullivan
    Violette mostly avoids the pitfalls associated with movies about writers by limiting the scenes of Violette scribbling furiously in a notebook.
    • 79 Metascore
    • 75 Michael O'Sullivan
    Dawn of the Planet of the Apes works both as allegory and action-adventure film. The internecine conflict between apes mirrors the troubled history of our own race.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Though the setting is a retreat from the world, where not terribly much happens, within its confines Lorenzo gets an eye-opener about both human frailty and interconnectedness, courtesy of someone even more troubled than he is.
    • 67 Metascore
    • 75 Michael O'Sullivan
    As the movie makes clear, none of these conditions are reversible. Music isn’t a cure for anything. But it does seem to be a key to unlocking long-closed doors and establishing connections with people who have become, through age or infirmity, imprisoned inside themselves.
    • 50 Metascore
    • 75 Michael O'Sullivan
    Franco’s hand-held camerawork draws the story forward as unfussily as a shepherd leads a sheep, and yet with a kind of ghastly grandeur. This is functional filmmaking more than it is flashy. But there is, at its heart, a single virtuosic performance.
    • 76 Metascore
    • 75 Michael O'Sullivan
    In addition to “pervert” — which Wojtowicz makes sound like a badge of honor — the film offers many other seemingly contradictory assessments of Wojtowicz, mainly from his own mouth: troll, Goldwater Republican, McCarthy peacenik, crazy man, crook, romantic. He was all of those things and more, as The Dog makes vividly obvious.
    • 66 Metascore
    • 75 Michael O'Sullivan
    Jealousy is less cynical than it sounds. While certainly no love story, this dry-eyed tale feels achingly, maybe even exhilaratingly alive.
    • 66 Metascore
    • 75 Michael O'Sullivan
    Duplass and Moss are so good, and their reactions to the frankly nutty circumstances of the film are so plausible, that the preposterous premise of the story hits home both conceptually and emotionally.
    • 56 Metascore
    • 75 Michael O'Sullivan
    As incomplete as the narrative is, The Maze Runner delivers on almost every other level.
    • 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.
    • 52 Metascore
    • 75 Michael O'Sullivan
    Despite the story’s familiarity, its star manages to turn its many tropes into a winning formula.
    • 67 Metascore
    • 75 Michael O'Sullivan
    The Book of Life may use state-of-the-art animation, but it derives its strength from the wisdom of antiquity. It only looks new, but it’s as old as life (and death) itself.
    • 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.
    • 76 Metascore
    • 75 Michael O'Sullivan
    Listen Up Philip makes literary talent seem less like a blessing than a curse.
    • 66 Metascore
    • 75 Michael O'Sullivan
    Rosewater doesn’t hector, nor does it giggle about the issue of press freedom. It’s an impressive and important piece of storytelling.
    • 66 Metascore
    • 75 Michael O'Sullivan
    The fate of these birds, which, the film tells us, could live into their 40s, becomes as engrossing as many a human drama.
    • 69 Metascore
    • 75 Michael O'Sullivan
    Yes, it features some of the most rapturous footage of calving glaciers and ice floes — alternately freezing and thawing — that you’re likely to have seen (much of it captured on equipment designed and built by the filmmaker). But it is the simple glimpses of ordinary life in an extraordinary place that are the most stirring moments in the film.
    • 59 Metascore
    • 75 Michael O'Sullivan
    Unbroken may not exactly be mired in sanctimony, but it’s standing, almost up to its ankles, in an unhealthy sense that its subject — about whose simple humanity the film otherwise goes to great lengths to illuminate — is a candidate for sainthood.
    • 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.”
    • 72 Metascore
    • 75 Michael O'Sullivan
    The battle scenes are alternately tense and thrilling, especially during one climactic sequence.
    • 50 Metascore
    • 75 Michael O'Sullivan
    It is the four young actors who play the students who truly shine, and who elevate the formulaic film above and beyond its familiar proceedings.
    • 70 Metascore
    • 75 Michael O'Sullivan
    A fascinating, funny and informative documentary.
    • 62 Metascore
    • 75 Michael O'Sullivan
    The film’s patina of richly textured grime lends the film a gloomy, claustrophobic beauty that serves its mood, as well as its satisfyingly misanthropic message: Greed isn’t good, and most people aren’t either.
    • 59 Metascore
    • 75 Michael O'Sullivan
    Kingsman delivers on its promise of escapist fun, with a touch that alternates between Galahad’s old-school polish and Eggsy’s roguish charm. Like the rookie who knows that you have to make a few mistakes while following the master, the movie shrugs off its missteps with a wink and a smile that makes them easy to forgive.
    • 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.
    • 76 Metascore
    • 70 Michael O'Sullivan
    Eavesdropping on the glib conversations of witty urbanites can be a pleasant diversion, but after so much volubility, you might find yourself wishing that they would all just shut up and dance.

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