Michael O'Sullivan

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For 1,247 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 Kubo and the Two Strings
Lowest review score: 0 Tomcats
Score distribution:
1247 movie reviews
    • 65 Metascore
    • 50 Michael O'Sullivan
    The overly schematic nature of High-Rise does not entirely diminish its pleasures as a story, which include, in addition to Wheatley’s richly lurid visual sensibility, an effective metaphorical tool in Laing.
    • 72 Metascore
    • 50 Michael O'Sullivan
    Sunset Song is a gritty and gorgeous film. Perhaps a little too gorgeous, in fact, and not gritty enough.
    • 61 Metascore
    • 50 Michael O'Sullivan
    The humor is generic. And the film’s most obvious comparison — it’s been called “Toy Story” with animals — only points up the one thing “Pets” lacks, and that any animal lover will tell you their furred and feathered friends have, in spades: personality.
    • 58 Metascore
    • 50 Michael O'Sullivan
    Jason Bourne belongs to Damon and Greengrass, whose admirable — and entirely appropriate — goal of playing it for kicks comes across, this time around, as an oddly joyless chore.
    • 71 Metascore
    • 50 Michael O'Sullivan
    Despite the vastly improved visuals, the new film is just as soft-hearted — and, unfortunately, just as mush-headed — as the earlier one.
    • 48 Metascore
    • 50 Michael O'Sullivan
    In order for the trick of the film to work, however, one must hold Morgan to a standard that the movie is unlikely to live up to.
    • 66 Metascore
    • 50 Michael O'Sullivan
    Disorder is, in other words, more of a technical achievement than an artistic one. The movie is at its best when it recreates what it must feel like to be in a constant state of paranoia and pain. If only that feeling were accompanied by one or two other emotions.
    • 56 Metascore
    • 50 Michael O'Sullivan
    Storks delivers its package, but it’s a bundle of just-okay, not joy.
    • 72 Metascore
    • 50 Michael O'Sullivan
    A great performance does not necessarily make for great tragedy, and Christine remains mired in the minutiae of its portrait of a doomed, bitter young woman.
    • 84 Metascore
    • 50 Michael O'Sullivan
    As far-fetched as it sounds, such torque-y plotting works, catching the audience off guard, even if the quasi-feminist payoff is less satisfying than it should be, thanks mostly to the film’s puerile fascination with girl-on-girl action.
    • 36 Metascore
    • 50 Michael O'Sullivan
    It’s incrementally more fun than it is silly.
    • 64 Metascore
    • 50 Michael O'Sullivan
    For all the outrageousness of Kevin’s alters, the movie falls oddly flat: less tantalizingly enigmatic “et cetera” than “blah blah blah.”
    • 36 Metascore
    • 40 Michael O'Sullivan
    The movie's half over before it really starts to whack at the funny bone.
    • 60 Metascore
    • 40 Michael O'Sullivan
    Unfortunately, the actors seem overqualified for their parts, delivering earnest monologues that come across as clumsy transplants from the proscenium stage.
    • 47 Metascore
    • 40 Michael O'Sullivan
    Cumming manages to keep the film's pandering in check with every wicked raised eyebrow.
    • 25 Metascore
    • 40 Michael O'Sullivan
    A fairly straightforward, if preachy, tale about environmentalism.
    • 36 Metascore
    • 40 Michael O'Sullivan
    Cletis Tout is both in love with and able to laugh at the conventions it adopts, which is exactly where it goes wrong. It's just a little too self-satisfied.
    • 59 Metascore
    • 40 Michael O'Sullivan
    Really nothing more than "Clueless" redux but without the edgy, knowing wit.
    • 40 Metascore
    • 40 Michael O'Sullivan
    Benign but forgettable sci-fi diversion.
    • 25 Metascore
    • 40 Michael O'Sullivan
    Lee's understated performance is a small treat.
    • 36 Metascore
    • 40 Michael O'Sullivan
    Never asks its target audience of self-referential baby boomers and their littles bundles of joy to take it more seriously than it takes itself.
    • 66 Metascore
    • 40 Michael O'Sullivan
    Wastes no time getting very loud and very silly and never really lets up.
    • 52 Metascore
    • 40 Michael O'Sullivan
    A dramatization of the life of Christ that takes as its script a word-for-word translation of the Gospel according to John, the adaptation is not so much tedious as pointless.
    • 29 Metascore
    • 40 Michael O'Sullivan
    Cedric the Entertainer is the best (and probably only) reason to take this "Vacation."
    • 64 Metascore
    • 40 Michael O'Sullivan
    What little grace there is in Living Out Loud (and there isn't much) is all in LaGravenese's script, not on the screen.
    • 51 Metascore
    • 40 Michael O'Sullivan
    When the danger subsides and the sparkless romance returns to the foreground, the vehicle comes sputtering back to earth with a thud, weighed down by the inertia of its leaden leading lady.
    • 52 Metascore
    • 40 Michael O'Sullivan
    As filmmaking, it's a bravura performance, but as a film, it falls flat.
    • 90 Metascore
    • 40 Michael O'Sullivan
    All foreplay and no climax.
    • 41 Metascore
    • 40 Michael O'Sullivan
    Another film about . . . a cretinous, grating loser.
    • 48 Metascore
    • 40 Michael O'Sullivan
    Introduces us to many who have known, worked and tangled with the man some call Bush's "co-president" during his multi-decade involvement in Republican politics.

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