For 67 reviews, this critic has graded:
  • 74% higher than the average critic
  • 0% same as the average critic
  • 26% lower than the average critic
On average, this critic grades 6.6 points higher than other critics. (0-100 point scale)

Sheila O'Malley's Scores

  • Movies
Average review score: 66
Highest review score: 100 Hateship Loveship
Lowest review score: 25 Back in the Day
Score distribution:
  1. Positive: 44 out of 67
  2. Negative: 14 out of 67
67 movie reviews
    • 78 Metascore
    • 100 Sheila O'Malley
    Would the magic hold? The magic holds. It holds from beginning to end.
    • 81 Metascore
    • 100 Sheila O'Malley
    Gimme the Loot is thrilling, although there aren't any stereotypically "thrilling" sequences. The thrill comes from the compulsively watchable dynamic between the two leads (non-professional actors, both of them), the excellent supporting cast (also non-professionals), and the fun use of multiple locations throughout the bustling metropolis.
    • 91 Metascore
    • 100 Sheila O'Malley
    A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making. Can the truth ever actually be known about anything?
    • 69 Metascore
    • 100 Sheila O'Malley
    Director Wheatley has already shown his aptitude for sardonic horror-commentaries, and Sightseers is his best film to date. Sightseers is dark, gruesome, blithely amoral and thoroughly entertaining.
    • 59 Metascore
    • 100 Sheila O'Malley
    Watching Kristen Wiig's lived-in and alive performance as this blunt, practical, and yet totally innocent woman is to be in the presence of something very very special.
    • 66 Metascore
    • 88 Sheila O'Malley
    The thematic elements are in place, the emotional tension is highly strung, and the action unfolds in a wave like the fire erupting from the dragon's mouth, overtaking all in its path.
    • 64 Metascore
    • 88 Sheila O'Malley
    The best part of Lars von Trier's fascinating, engaging and often didactic Nymphomaniac is that, despite the sometimes-grim tone and bleak color palate, it's an extremely funny film, playful, even.
    • 44 Metascore
    • 88 Sheila O'Malley
    At times, Blood, feels like a slightly-filled-out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.
    • 75 Metascore
    • 88 Sheila O'Malley
    Harry Dean Stanton: Party Fiction takes a dreamy and philosophical approach, reflecting the personality of the man who is its subject.
    • 77 Metascore
    • 88 Sheila O'Malley
    It's an extremely strong and upsetting film, yet another example of the fascinating things going on in Romania's new wave, with a breathtaking lead performance by Luminita Gheorghiu as Cornelia.
    • 68 Metascore
    • 88 Sheila O'Malley
    Despite the bleak-ness of the situation, the film vibrates with color, noise, music, ferocious arguments (both serious and teasing), and eye-catching snapshots of everyday life in Havana.
    • 68 Metascore
    • 88 Sheila O'Malley
    The footage of Bordeaux is awe-inspiring, with aerial shots of the great chateaux and the vineyards. Closeups of the labels from the different chateaux abound, along with luscious shots of glimmering wine being poured. The obsessive nature of the entire industry is reflected in these shots, a good marriage of theme and form.
    • 61 Metascore
    • 88 Sheila O'Malley
    The directors and the cast, through a miracle of tone, mood, and emotion, have made a film that feels true, that is sweet and sharp and unbearable. Every frame feels right, every choice feels thought-out, considered. All adds up to a heartbreaking whole.
    • 75 Metascore
    • 88 Sheila O'Malley
    Omar is a thriller and a romance, with unabashedly melodramatic elements (there's even a love triangle), all of which are brought into stark relief by the Israeli-Palestinian conflict.
    • 72 Metascore
    • 88 Sheila O'Malley
    7 Boxes is both a tense and frightening crime film as well as a sometimes-dreamy evocation of life in the sprawling underclass, its hallucinatory aspects, its chaos and violence, its fantasies.
    • 63 Metascore
    • 88 Sheila O'Malley
    What is truly delightful about the film is its loopy, gently slapstick sense of humor, its use of continuous running gags that pay off cumulatively (no small feat), and the dreamy sense that Schilling's somnambulism is pierced through only by the insane incomprehensible behavior of others.
    • 75 Metascore
    • 88 Sheila O'Malley
    Unlike in Judd Apatow's "Knocked Up," with a similar circumstance and where abortion is not even mentioned by name (except for the cowardly "schma-shmortion"), Obvious Child is honest.
    • 60 Metascore
    • 75 Sheila O'Malley
    The Heat is violent, with some pretty gruesome moments and some questionable police work. That's part of the fun. Cagney and Lacey these two ain't. When they finally join forces, they go rogue with a gusto that is refreshing.
    • 42 Metascore
    • 75 Sheila O'Malley
    The moments of sentiment, when they come, feel fully earned, and they come out of characterization.
    • 42 Metascore
    • 75 Sheila O'Malley
    A pretty uneven film, lurching from comedy to violence to sentiment, but it's best when it sticks in the realm of flat-out farce.
    • 74 Metascore
    • 75 Sheila O'Malley
    Some of the twists the film takes, particularly in its final third, strain the powers of belief, but the ending, thankfully, does not soft-pedal all that came before.
    • 63 Metascore
    • 75 Sheila O'Malley
    Young and Beautiful doesn't have the eerie power of some of Ozon's other films, like "In the House" or "Swimming Pool," but it is still a fascinating experience.
    • 52 Metascore
    • 75 Sheila O'Malley
    Man of Tai Chi is hugely entertaining.
    • 83 Metascore
    • 75 Sheila O'Malley
    Wind is both benign and ominous.
    • 69 Metascore
    • 75 Sheila O'Malley
    Palo Alto is a very strong first feature, prioritizing mood over message. Coppola does not diagnose underlying societal problems; she does not make assumptions about the cultural void in which the kids live.
    • 64 Metascore
    • 75 Sheila O'Malley
    The film feels like a first draft. But then there is the music to celebrate.
    • 62 Metascore
    • 75 Sheila O'Malley
    Like "Cat People", The Banshee Chapter is both elegant and terrifying.
    • 56 Metascore
    • 75 Sheila O'Malley
    Without being explicit, without being overtly angry, Kabakov's installations are a critique of the entire system, a critique leavened with irony, wit, and fantasy. It's powerful stuff. You go into Kabakov's labyrinths of associations and you don't come out.
    • 60 Metascore
    • 75 Sheila O'Malley
    I wonder how people will feel about the final moment of the film. I thought it was great, albeit extremely cynical.
    • 43 Metascore
    • 75 Sheila O'Malley
    Yes. It is good. It is sincere, funny, thoughtful and spiritual, often poignant, and with a deep strain of existential worry running underneath the whole thing.