Michael O'Sullivan

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For 1,213 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 2.8 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 When Marnie Was There
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1213 movie reviews
    • 79 Metascore
    • 75 Michael O'Sullivan
    Winter on Fire has all the immediacy and power of drama. If it lacks the dispassionate context of more balanced journalism, it makes up for it with a complex, contradictory emotional impact that is simultaneously demoralizing and hopeful.
    • 72 Metascore
    • 75 Michael O'Sullivan
    While the movie is best viewed as an examination of a specific place and time, it also can be seen as a celebration of a larger, more generic cultural phenomenon that one might call creative foment.
    • 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.
    • 41 Metascore
    • 75 Michael O'Sullivan
    An invigorating blast of cinematic adrenaline.
    • 52 Metascore
    • 75 Michael O'Sullivan
    There's a powerfully creepy sensibility to Deadfall. But the way it handles the messiness of families -- a universal message given vivid metaphorical life in the blood and guts it leaves in its path -- is finally rewarding.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 75 Michael O'Sullivan
    As Finders Keepers gets weirder, it also gets better and deeper. Somehow, Carberry and Tweel have managed to fashion an inspirational tale out of what one local newscaster calls a “freak show.”
    • 76 Metascore
    • 75 Michael O'Sullivan
    Listen Up Philip makes literary talent seem less like a blessing than a curse.
    • 69 Metascore
    • 75 Michael O'Sullivan
    A worthy addition to the Christmas movie canon. It's funny and good-looking, with an impeccable voice cast of U.K. actors. It's also unexpectedly fresh, despite the familiar-sounding premise.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 75 Michael O'Sullivan
    As incomplete as the narrative is, The Maze Runner delivers on almost every other level.
    • 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.
    • 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.
    • 64 Metascore
    • 75 Michael O'Sullivan
    The second half of this nearly two-hour film is a pure delight — fast-paced and funny and filled with special effects and humor as great as any recent Marvel movie, with the possible exception of “Guardians of the Galaxy.”
    • 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.
    • 63 Metascore
    • 75 Michael O'Sullivan
    The movie, for all its uneventfulness, is intensely memorable.
    • 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.
    • 77 Metascore
    • 75 Michael O'Sullivan
    A surprisingly intelligent and effective (if slightly pulpy) psychological thriller.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 75 Michael O'Sullivan
    The picture that emerges is fractured, making for a portrait that’s as fascinating as it is baffling.
    • 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.

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