Sheila O'Malley

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For 196 reviews, this critic has graded:
  • 71% higher than the average critic
  • 2% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 7.1 points higher than other critics. (0-100 point scale)

Sheila O'Malley's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 Under the Shadow
Lowest review score: 12 Mad Women
Score distribution:
  1. Negative: 34 out of 196
196 movie reviews
    • 83 Metascore
    • 100 Sheila O'Malley
    The most pleasurable aspect of 20th Century Women (and it's pleasurable throughout) is that it allows itself to be messy.
    • 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.
    • 82 Metascore
    • 100 Sheila O'Malley
    It's a courageous film that's willing to sit in those moments instead of underlining them or hurrying past them, hoping we get the shorthand. Love is Strange is a patient film. The emotions it unleashes are enormous.
    • 89 Metascore
    • 100 Sheila O'Malley
    Elle is a high-wire act without a net.
    • 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.
    • 85 Metascore
    • 100 Sheila O'Malley
    Watchers of the Sky, an intricate and immensely powerful documentary, directed by Edet Belzberg, is both the story of Raphael Lemkin as well as a harrowing examination of genocide, past, recent, and ongoing.
    • 66 Metascore
    • 100 Sheila O'Malley
    Crimson Peak's atmosphere crackles with sexual passion and dark secrets. There are a couple of monsters (supernatural and human), but the gigantic emotions are the most terrifying thing onscreen.
    • 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.
    • 79 Metascore
    • 100 Sheila O'Malley
    I am a cat owner, I admit, but even I was surprised at the power of Kedi. Where did all that emotion come from? It's because what Torun really captures in her unexpectedly powerful film is kindness in its purest form.
    • 84 Metascore
    • 100 Sheila O'Malley
    Under the Shadow, a Farsi-language debut feature written and directed by Babak Anvari, creates a world where reality itself is suspect. In a year filled with great first features, add Under the Shadow to the list.
    • 66 Metascore
    • 100 Sheila O'Malley
    Played by Matthias Schoenaerts, Vincent is a tormented and inarticulate man, and the riveting center of Alice Winocour's sexy, relentless thriller Disorder.
    • 87 Metascore
    • 100 Sheila O'Malley
    The fantastical and surreal are presented with unshowy practicality. It's magical realism mixed with kitchen-sink drama, seasoned by a haunting sense of history as a sentient entity.
    • 78 Metascore
    • 100 Sheila O'Malley
    Would the magic hold? The magic holds. It holds from beginning to end.
    • 67 Metascore
    • 88 Sheila O'Malley
    Ma
    Ma is more about its visuals than anything else.
    • 90 Metascore
    • 88 Sheila O'Malley
    An effective and creepy-surreal film.
    • 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.
    • 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.
    • 79 Metascore
    • 88 Sheila O'Malley
    John Carney has a humorous and loving eye for detail, an intuitive ear for dialogue, and the film is extremely personal in a way that is universal.
    • 83 Metascore
    • 88 Sheila O'Malley
    So spot-on in its evocation of that whole "scene," onstage and off — its intimacy, competition, struggles and rhythms — that at times it feels like a documentary.
    • 88 Metascore
    • 88 Sheila O'Malley
    In each of her films, Hansen-Løve has the patience to wait for what Henri Cartier-Bresson called “the decisive moment,” the moment where something "small," something detailed and specific, reveals the universal. Things to Come is full of such moments.
    • 77 Metascore
    • 88 Sheila O'Malley
    Strategy combats chaos, strategy focuses people on one goal, and with strategy, winning is actually possible. That's what The Dark Horse is all about.
    • 59 Metascore
    • 88 Sheila O'Malley
    It’s a rambunctious, often hilarious, and carefully-constructed story about a teenage boy starting to question his sexuality in the midst of his Evangelical Christian world.
    • 70 Metascore
    • 88 Sheila O'Malley
    Sin Alas has a lot going on, both plot-wise and stylistically, and it often gets quite theatrical, but the overall effect is that of a pure and beautiful simplicity. There is nothing in the way between the story and its impact.
    • 87 Metascore
    • 88 Sheila O'Malley
    The result is a film that is funny and sad, scary and sweet, disturbing and revelatory.
    • 81 Metascore
    • 88 Sheila O'Malley
    Along with Jarmusch, A Girl Walks Home Alone At Night is steeped in other influences: Spaghetti Westerns, 1950s juvenile delinquent movies, gearhead movies, teenage rom-coms, the Iranian new wave.
    • 86 Metascore
    • 88 Sheila O'Malley
    Watching Krisha is a revelation: there are expected "rules" for such material (a former addict returns home for a holiday), but then director/writer Trey Edward Shults breaks every rule, making those rules seem tired and arbitrary in the process, and he does so with bravura, confidence, flash.
    • 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.
    • 68 Metascore
    • 88 Sheila O'Malley
    The Homesman doesn't play things safe, and that's a welcome change.
    • 93 Metascore
    • 88 Sheila O'Malley
    A great newspaper movie of the old-school model, calling up not only obvious comparisons with "All the President's Men" and "Zodiac," two movies with similar devotion to the sometimes crushingly boring gumshoe part of reportage, but also Cary Grant and Rosalind Russell shouting into adjacent phones in "His Girl Friday."

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