Sheila O'Malley

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For 166 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 6.7 points higher than other critics. (0-100 point scale)

Sheila O'Malley's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Cemetery of Splendor
Lowest review score: 12 In Stereo
Score distribution:
  1. Negative: 33 out of 166
166 movie reviews
    • 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.
    • 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.
    • 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.
    • 91 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.
    • 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.
    • 87 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."
    • 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.
    • 85 Metascore
    • 88 Sheila O'Malley
    A powerful and entertaining film about a gang of girls, and what friendship means, the protection it provides.
    • 71 Metascore
    • 88 Sheila O'Malley
    Pulling back the curtain to see how Carrol Spinney "does it" is not only a revelation of technique but a reminder of just how brilliant he is as a puppeteer and as an actor.
    • 79 Metascore
    • 88 Sheila O'Malley
    Mood is ephemeral, but it helps establish point of view and orients us in the dream-space of the film. With all of the things that Christmas, Again (written and directed by Charles Poekel in his feature debut) does well (and it does almost everything well), the most striking thing about it is its evocation of an extremely specific mood.
    • 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.
    • 83 Metascore
    • 88 Sheila O'Malley
    When Linklater's style works (and it works in Everybody Wants Some!!), there is nobody quite like him.
    • 95 Metascore
    • 88 Sheila O'Malley
    Carol is often about its surfaces, their beauty contrasting with the scary duality of people, relationships. The surfaces in Carol are so seductive that one understands the ache to belong in that world.

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