Sheila O'Malley
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For 108 reviews, this critic has graded:
  • 78% higher than the average critic
  • 0% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 6.8 points higher than other critics. (0-100 point scale)

Sheila O'Malley's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Hateship Loveship
Lowest review score: 25 Behaving Badly
Score distribution:
  1. Positive: 76 out of 108
  2. Negative: 22 out of 108
108 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.
    • 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.
    • 78 Metascore
    • 100 Sheila O'Malley
    Would the magic hold? The magic holds. It holds from beginning to end.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 76 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.
    • 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.
    • 61 Metascore
    • 88 Sheila O'Malley
    It's gloriously inventive, wonderfully funny, and gorgeous to look at, the screen filled with sometimes overwhelming detail.
    • 68 Metascore
    • 88 Sheila O'Malley
    The Homesman doesn't play things safe, and that's a welcome change.
    • 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.
    • 85 Metascore
    • 88 Sheila O'Malley
    A powerful and entertaining film about a gang of girls, and what friendship means, the protection it provides.
    • 86 Metascore
    • 88 Sheila O'Malley
    Despite the harrowing stories that fill the film from start to finish, Dreamcatcher is not hopeless.
    • 72 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.
    • 42 Metascore
    • 75 Sheila O'Malley
    The moments of sentiment, when they come, feel fully earned, and they come out of characterization.
    • 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.
    • 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
    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.
    • 64 Metascore
    • 75 Sheila O'Malley
    The film feels like a first draft. But then there is the music to celebrate.

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