Michael O'Sullivan

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For 1,256 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 Kill Bill: Vol. 2
Lowest review score: 0 Tomcats
Score distribution:
1256 movie reviews
    • 73 Metascore
    • 80 Michael O'Sullivan
    What keeps The 40-Year-Old Virgin out of Rob Schneider territory, however, is: 1) the fact that it's pretty darn funny, and in a way that feels consistently real, and 2) the fact that it's actually an excellent date movie.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Touching, funny, unflinching and true.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Shows more hopelessness than optimism but is never less than honest.
    • 42 Metascore
    • 80 Michael O'Sullivan
    Freeman fills Cross's gumshoes with distinction.
    • 64 Metascore
    • 80 Michael O'Sullivan
    Very, very funny, thanks to a lively first script by Mark O'Rowe, who has a good ear for earthy dialogue and a sense of life's absurd little synchronicities.
    • 62 Metascore
    • 80 Michael O'Sullivan
    Manages to take the cerebral act of literary creation and make it exciting, sexy even.
    • 61 Metascore
    • 80 Michael O'Sullivan
    Enormously entertaining.
    • 71 Metascore
    • 80 Michael O'Sullivan
    A gorgeously morbid meditation on the interconnectivity of life.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Under normal circumstances, nothing kills a joke faster than trying to explain it. Yet here, such examination is the film's strong suit and provides much-needed respite, quite frankly, from the exhaustion of constant laughter.
    • 63 Metascore
    • 80 Michael O'Sullivan
    Shakes, rattles and rolls the house, building to a climax that makes you almost forget you're in a movie theater and not a football stadium at halftime.
    • 63 Metascore
    • 80 Michael O'Sullivan
    With its cast of back-stabbing functionaries and desk jockeys, Spy Game makes the sport and hard work of espionage seem chillingly real.
    • 73 Metascore
    • 80 Michael O'Sullivan
    In its heart burns the indomitable flame of the human spirit.
    • 67 Metascore
    • 80 Michael O'Sullivan
    After viewing documentarian Stephanie Black's dour exegesis of the wrecked Jamaican economy -- only the most insensitive vacationer will want to set foot anywhere near the resorts and beaches of Montego Bay.
    • 46 Metascore
    • 80 Michael O'Sullivan
    Subtle it's not. Still, the film, directed by Andrew Fleming ("Dick"), gets large and plentiful laughs where it's supposed to.
    • 65 Metascore
    • 80 Michael O'Sullivan
    More love story than thriller, with the mystery providing only slack tension and the December-December romance that ultimately develops between Regina and Camargo crackling with drama and sexual tension aplenty.
    • 81 Metascore
    • 80 Michael O'Sullivan
    One heck of a tale of deliciously unladylike payback.
    • 73 Metascore
    • 80 Michael O'Sullivan
    Like a haiku, it is not what is said, but what is unsaid, that leaves the most lasting echoes.
    • 52 Metascore
    • 80 Michael O'Sullivan
    It's a love story, yes, but one whose sweetness is cut by honest performances, a sharply drawn supporting cast and a fairly serious, yet never self-pitying, tone.
    • 72 Metascore
    • 80 Michael O'Sullivan
    Visually stylish surrealist drama.
    • 60 Metascore
    • 80 Michael O'Sullivan
    Drew Barrymore has figured out what works, and what works for Drew Barrymore is this: Cinderella stories.
    • 61 Metascore
    • 80 Michael O'Sullivan
    The movie is not for the squeamish, but for those who are unafraid to look at what is, perhaps, their own metaphorical "backyard," for those willing to stare into the long, dark night of the contemporary American soul, its bone-crunching message is worth hearing.
    • 43 Metascore
    • 80 Michael O'Sullivan
    A film whose effects are as hard to wash away as blood.
    • 62 Metascore
    • 80 Michael O'Sullivan
    It's a love letter to the myriad ways, large and small, that mail handlers change lives the world over.
    • 68 Metascore
    • 80 Michael O'Sullivan
    Personal and private almost to the point of self-absorption, the film is ultimately saved from neurotic narcissism by the director's self-deprecating humor and unapologetic honesty about his own dysfunction.
    • 84 Metascore
    • 80 Michael O'Sullivan
    The line between madness and genius is thin. Not to mention more than amply explored in any number of films about tortured artists. But to look at the almost religious ecstasy on Moreau's face is to feel the artist's passion and be inspired by it.
    • 69 Metascore
    • 80 Michael O'Sullivan
    Contrary to expectation, it's neither a movie about religion nor the coming together of enemies. What it is, at heart, is a movie about love.
    • 84 Metascore
    • 80 Michael O'Sullivan
    Short on drama but long on poetry.
    • 76 Metascore
    • 80 Michael O'Sullivan
    In Sheridan's warm and glowing treatment, the moral of the story feels less like a reheated fable than like something utterly, indescribably original.
    • 64 Metascore
    • 80 Michael O'Sullivan
    A complex film about the minefield of loyalty and betrayal.
    • 59 Metascore
    • 80 Michael O'Sullivan
    Sternfeld has created a garden on film that opens up its blooms for us, not in the dark of the movie house, but long after we've left the theater.

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