Michael O'Sullivan

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For 1,255 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 3.5 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 The Way He Looks
Lowest review score: 0 Lethal Weapon 4
Score distribution:
1255 movie reviews
    • 74 Metascore
    • 90 Michael O'Sullivan
    One thoroughbred of a movie. Sleek, well-muscled and brisk, director Steven Soderbergh's newest offering delivers just about everything anyone could possibly want from filmed entertainment -- except deep thought.
    • 71 Metascore
    • 90 Michael O'Sullivan
    Gorgeously animated and stirringly told, Disney's Mulan is a timeless story that will delight kids and divert adults with its sweeping scope, emotional intimacy and screwball humor.
    • 68 Metascore
    • 90 Michael O'Sullivan
    The fantastic and at times deliciously nihilistic world of X2 is fully, believably three-dimensional.
    • 89 Metascore
    • 90 Michael O'Sullivan
    Neither wholly cynical nor wholly romantic, Kaufman's story is a balance of smarts and sentiment. It's the most fully realized working out of his two favorite obsessions: the subjective nature of experience and the psychological mysteries of pair bonding.
    • 77 Metascore
    • 90 Michael O'Sullivan
    What the movie may lack in "Saving Private Ryan"-style gloss, it more than makes up for in authenticity, or, in other words, heart.
    • 73 Metascore
    • 90 Michael O'Sullivan
    It's a kind of 18th-century "Dead Man Walking" but with that earlier film's foreground arguments against capital punishment pushed to the background here.
    • 64 Metascore
    • 90 Michael O'Sullivan
    A gift for those already in the fold, for those who get the joke and just want to savor it with other like-minded fans.
    • 61 Metascore
    • 90 Michael O'Sullivan
    Psychological suspense at its finest.
    • 72 Metascore
    • 90 Michael O'Sullivan
    Scorsese creates a film so resonant that it is both a work of great art and an anthropological document.
    • 64 Metascore
    • 90 Michael O'Sullivan
    Really, really good -- Yes, it's over the top, giddy and parodistic (God bless it). But it also takes a thoughtful, if surreptitious, look at what eight women might act like when men aren't around.
    • 85 Metascore
    • 90 Michael O'Sullivan
    A small film of surpassing beauty and sadness. Yet its bittersweet flavor isn't artificial, but rather the product of the slow ripening of character.
    • 79 Metascore
    • 90 Michael O'Sullivan
    Their characters' desire (Scott Thomas and Zylberstein) -- no, need -- to repair their fragile bond feels as achingly real as the mother lode of hidden pain that gets exposed by the work of these two great actresses.
    • 53 Metascore
    • 90 Michael O'Sullivan
    Old-fashioned moviemaking at its best.
    • 81 Metascore
    • 90 Michael O'Sullivan
    Part of this success is due to the exquisitely cast ensemble-composed of actors, not movie stars. To a man, woman and child, the unforced performers are spot-on.
    • 87 Metascore
    • 90 Michael O'Sullivan
    It is incomplete, contradictory, as multifaceted (and as brilliant) as a diamond.
    • 65 Metascore
    • 90 Michael O'Sullivan
    The events of the movie are filament-thin and insubstantial but, like fine silk threads, they weave together a fabric of surpassing warmth and texture. [25 Sep 1998, Pg.N.63]
    • Washington Post
    • 61 Metascore
    • 90 Michael O'Sullivan
    Works on two levels. First, it's a pure celebration of riding the waves. -- Second, Blue Crush is a clear-eyed portrait of the unique kind of power that women possess, a power that shows us that victory doesn't always mean vanquishing someone else. Either way, it's thrilling.
    • 78 Metascore
    • 90 Michael O'Sullivan
    Troubling and powerful film, lingering on screen well into the final credits and in the minds of its audience long after the house lights have come on.
    • 65 Metascore
    • 90 Michael O'Sullivan
    In almost every way that I can think of, L'Auberge Espagnole is a perfect movie... It is a film that feels alive.
    • 82 Metascore
    • 90 Michael O'Sullivan
    Tells a tale of fortitude that comes not from muscle but from the ineffable, bungee-like sinew that is the human spirit.
    • 85 Metascore
    • 90 Michael O'Sullivan
    The nail-biting quality of Shackleton's true story outdoes any dramatic fiction on the market.
    • 77 Metascore
    • 90 Michael O'Sullivan
    Maybe Thomas Wolfe was right: You can't go home again
    • 74 Metascore
    • 90 Michael O'Sullivan
    It's part sugar, part spice (cayenne, not nutmeg) and all-around brilliant.
    • 68 Metascore
    • 88 Michael O'Sullivan
    The problem, as “Table” shows, isn’t that the next meal never comes. It’s that when it arrives, too often it is filled with empty calories.
    • 68 Metascore
    • 88 Michael O'Sullivan
    Known for comedy, Rogen and Silverman are the film's most delightful surprises, and their performances shine.
    • 64 Metascore
    • 88 Michael O'Sullivan
    By turns sweet, sad, funny and poignant, We Have a Pope is the story of a man who doesn't want to be God's representative on Earth.
    • 58 Metascore
    • 88 Michael O'Sullivan
    For a movie that relies so heavily on a single, not especially groundbreaking visual effect — now you see the bogeyman, now you don’t — Lights Out is crazy scary.
    • 54 Metascore
    • 88 Michael O'Sullivan
    It’s surprisingly wise, funny and affecting, thanks in part to a sensitive script, and in part to a strong ensemble cast.
    • 58 Metascore
    • 88 Michael O'Sullivan
    Life in a Day is, without exaggeration, a profound achievement.
    • 62 Metascore
    • 88 Michael O'Sullivan
    Simon and the Oaks is not merely the story of two boys from opposite sides of the tracks. It's also a larger meditation on life's hardships and what endures: love, art and civilization.

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