Michael O'Sullivan

Select another critic »
Washington Post
For 1,854 reviews, this critic has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 5.6 points lower than other critics. (0-100 point scale)

Michael O'Sullivan's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Flipside
Lowest review score: 0 Tomcats
Score distribution:
  1. Positive: 1,051 out of 1854
  2. Mixed: 394 out of 1854
  3. Negative: 409 out of 1854
1854 movie reviews
view
per page
    • 82 Metascore
    • 75 Michael O'Sullivan
    Hold Me Tight
    Not 10 minutes in, when Clarisse stops at a service station to chat with a friend who asks, “Running away, or what?” there are hints that all is not as it seems. That sense grows more steadily over the course of the strange and compelling film, a study of grief that somehow is at once moving and detached, in the way that people in mourning sometimes engage in denial-like displacement activities: behavior that’s inappropriate to the emotion at hand.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Step Up To The Plate
    It's the story of changing chefs and changing seasons. It looks at food as not just something that nourishes our bodies, but as something that enriches our lives and our relationships.
    • 49 Metascore
    • 75 Michael O'Sullivan
    7 Days in Entebbe
    The dance itself makes a much more powerful, and ultimately poetic, point. On the most superficial level, it serves as a blunt metaphor for the elaborate choreography of the rescue operation, which entailed its own intense rehearsals, undertaken in a scale mock-up of the Entebbe airport that had been re-created back in Israel.
    • 71 Metascore
    • 75 Michael O'Sullivan
    A Monster with a Thousand Heads
    Director Rodrigo Plá, working from a spare yet jangly screenplay by Laura Santullo, steadily builds suspense, craftily calibrating subtle shifts in perspective that allow us to alternate, seamlessly, between impartial observers and, as it were, active participants.
    • 53 Metascore
    • 75 Michael O'Sullivan
    Generation Wealth
    Meaty interviews with journalist Chris Hedges, for instance, lend the film needed context and a sense of intellectual detachment.
    • 71 Metascore
    • 75 Michael O'Sullivan
    Becoming Astrid
    This familiar-sounding melodrama works because of the extraordinary performance, in the title role, by Alba August, a young actress whose every emotion is made manifest, like passing clouds or a burst of sunshine, on her uncannily expressive face.
    • 73 Metascore
    • 75 Michael O'Sullivan
    Some Kind of Heaven
    The film deepens and grows more thoughtful — and, yes, sad — as its spotlight on the need for human connection — at any age — comes into focus. The stories of the four people at its center show Villagers to be more than statistics.
    • 76 Metascore
    • 75 Michael O'Sullivan
    The Dog
    In addition to “pervert” — which Wojtowicz makes sound like a badge of honor — the film offers many other seemingly contradictory assessments of Wojtowicz, mainly from his own mouth: troll, Goldwater Republican, McCarthy peacenik, crazy man, crook, romantic. He was all of those things and more, as The Dog makes vividly obvious.
    • 51 Metascore
    • 75 Michael O'Sullivan
    Ender's Game
    Ender’s Game is more than a parable about bullying, or a disquisition on the concept of the “just war.” It’s also a rousing action film, especially in Imax.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Time to Choose
    The climate change documentary A Time to Choose takes what often seems like an oblique approach to the subject of global warming.
    • 80 Metascore
    • 75 Michael O'Sullivan
    Sweetgrass
    It's a gorgeous and, believe it or not, riveting documentary . . . about sheep.
    • 72 Metascore
    • 75 Michael O'Sullivan
    Nine Days
    Nine Days is, in the end, meant as a wake-up call: a bracing splash of fake seawater in the face that somehow, against all logic, feels like the real thing.
    • 78 Metascore
    • 75 Michael O'Sullivan
    Monos
    The violent, beautiful and powerfully watchable movie Monos — Spanish for monkeys — takes its title from the code name used by a group of teenage guerrillas.
    • 69 Metascore
    • 75 Michael O'Sullivan
    Eating Animals
    Portman, a vegan, is the main tour guide to this challenging excursion to the world of slaughterhouses and CAFOs, which one commentator likens to petri dishes for antibiotic-resistant bacteria.
    • 73 Metascore
    • 75 Michael O'Sullivan
    Spider-Man: Homecoming
    The film, for much of the first two acts, takes itself just about that unseriously, maintaining a jokey, self-aware tone that is nicely evocative of the original comics.
    • 48 Metascore
    • 75 Michael O'Sullivan
    Divergent
    Director Neil Burger (“Limitless”) has crafted a popcorn flick that’s leaner, more propulsive and more satisfying than the bestseller that inspired it.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Me and You
    Though the setting is a retreat from the world, where not terribly much happens, within its confines Lorenzo gets an eye-opener about both human frailty and interconnectedness, courtesy of someone even more troubled than he is.
    • 68 Metascore
    • 75 Michael O'Sullivan
    American Animals
    American Animals, while an entertaining version of a heist film at times, is no “Ocean’s 8.” Its signature moment occurs not during the reenactment of the inept crime, or its planning and antic aftermath. Rather, it comes in the middle of one of Lipka’s interview scenes.
    • 90 Metascore
    • 75 Michael O'Sullivan
    Mad Max: Fury Road
    To say that there is also a monomania to the film is, if anything, an understatement. But it is precisely that sense of tunnel vision that makes Fury Road such a pulse-pounding pleasure.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Star Trek Beyond
    It may not boldly go where no “Star Trek” film has gone before, but it gets there at warp speed, and with a full tank of fresh ideas.
    • 65 Metascore
    • 75 Michael O'Sullivan
    Monsters University
    Crystal, 65, and Goodman, 61, are a long time out of college, but they somehow manage to carry off the callowness of youth.
    • 72 Metascore
    • 75 Michael O'Sullivan
    All the Money in the World
    All the Money in the World may not have that many surprises up its sleeve, especially if you already know how this story ends. You will, however, get your money’s worth, one way or another: whether it’s from the crime thriller or the thought-provoking sermon on filthy lucre that it throws in, at no extra charge.
    • 81 Metascore
    • 75 Michael O'Sullivan
    Invisible Life
    The progression of the story is steadily downward, and at times the style flirts with melodrama, the mood with moroseness. But in the film’s third act, masterfully staged by filmmaker Karim Aïnouz (who co-wrote the screen adaptation with Inez Bortagaray and Murilo Hauser), it takes a giant leap, both temporally and emotionally.
    • 61 Metascore
    • 75 Michael O'Sullivan
    Oculus
    Oculus director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since “The Conjuring.”
    • 52 Metascore
    • 75 Michael O'Sullivan
    Fantastic Beasts: The Crimes of Grindelwald
    Takes a turn for the dark side that will satisfy the franchise’s adult fans even more.
    • 74 Metascore
    • 75 Michael O'Sullivan
    In Order of Disappearance
    At times, In Order of Disappearance is a bit too self-consciously clever. But what saves it, paradoxically — even, at times, delightfully — from skidding off course into cliche is the profound appeal of its middle-of-the-road, but never dull, protagonist.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Logan
    It has, simultaneously, the exhilarating feel of a departure and the finality of a full stop.
    • 73 Metascore
    • 75 Michael O'Sullivan
    The Killing of a Sacred Deer
    In his most bracing and maddening morality tale yet, Lanthimos doesn’t so much paint himself into a corner as he runs into it, headlong, dragging us with him all the way.
    • 52 Metascore
    • 75 Michael O'Sullivan
    Citizen Koch
    If you have a shred of idealism left, it’s hard to watch Citizen Koch without a mounting sense of despair and outrage over the influence that money has come to wield over modern elections.
    • 80 Metascore
    • 75 Michael O'Sullivan
    Last Men in Aleppo
    While Last Men in Aleppo could stand a trim here and there, it mostly uses its length to good and heart-rending effect, delivering a lingering, close-up — and ultimately tragic — look at the misery and joy taking place, side by side, under the eyes of the world.
    • 58 Metascore
    • 75 Michael O'Sullivan
    7500
    7500 is, at heart, a chamber piece. The setting, the number of characters and the setup are all constrained in an elegant yet dramatically effective way that belies the film’s low budget. There’s a taut, piano wire-like quality to its simplicity: None of the drama comes from action-movie cliches, but rather from the actors, along with the disembodied voices of an air traffic controller, a police officer and others.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Chasing Ice
    Chasing Ice aims to accomplish, with pictures, what all the hot air that has been generated on the subject of global warming hasn't been able to do: make a difference.
    • 73 Metascore
    • 75 Michael O'Sullivan
    John Wick: Chapter 3 - Parabellum
    There is just enough story here to give the brutality shape and purpose, and to keep that numbness from turning to boredom. “Parabellum” — the name comes from a Latin phrase meaning “If you want peace, prepare for war” — picks up precisely where “John Wick: Chapter 2” left off: with John on the run.
    • 62 Metascore
    • 75 Michael O'Sullivan
    Skin
    If you didn't know that it was based on a true story, Skin would be a little hard to believe.
    • 87 Metascore
    • 75 Michael O'Sullivan
    Particle Fever
    It plays out with all the suspense of a thriller. Assisted by acclaimed editor Walter Murch, Levinson wisely shapes the story not around the hardware, which was plagued by malfunctions and other delays, but around the people tasked with making the LHC run.
    • 53 Metascore
    • 75 Michael O'Sullivan
    Carrie
    It’s as affecting as drama as it is effective as horror. It wrenches, even as it unnerves.
    • 74 Metascore
    • 75 Michael O'Sullivan
    The Attack
    On one level, The Attack is a mystery, but not the kind you think. It’s obvious from the start who detonated the bomb; the only question is why. It’s a question that probably cannot be answered to the satisfaction of anyone living outside Israel or the occupied territories.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Vazante
    Thomas keeps things at a simmer for the longest time, forestalling the story’s ultimate boil-over until the final minute or so of the tale.
    • 76 Metascore
    • 75 Michael O'Sullivan
    Retrograde
    Retrograde is a handsome film, ironically, conveying a sense of the country that is at stake, and its people. And Heineman is smart to frame the story around a single individual, as he did in his fact-based drama about war correspondent Marie Colvin, “A Private War.”
    • 60 Metascore
    • 75 Michael O'Sullivan
    The Girl Who Kicked the Hornet's Nest
    The final, deeply satisfying conclusion to the trilogy of Swedish thrillers based on Stieg Larsson's bestselling novels.
    • 62 Metascore
    • 75 Michael O'Sullivan
    Deli Man
    Like a fat slab of pastrami, Deli Man is the cinematic equivalent of comfort food: warm, generous and made with love.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Borat Subsequent Moviefilm
    It’s a comedy of outrage and horror that elicits laughter not as a cure for what ails us, or even a temporary balm, but a close cousin of the feeling you get — sharp pain followed by relief — when a Band-Aid has been ripped off an open wound.
    • 69 Metascore
    • 75 Michael O'Sullivan
    Welcome to Me
    As she demonstrated in “The Skeleton Twins,” the former “Saturday Night Live” comedian has grown so adept at rendering troubled characters without offering sideline commentary that you can’t help but fall in love with her, even as laughter gives way to uncomfortable silence.
    • 73 Metascore
    • 75 Michael O'Sullivan
    School Life
    In tone, School Life feels like a recruiting film for prospective students. It isn’t exactly profound, except perhaps in the way it makes a case for the theory that happiness comes first, and then learning.
    • 63 Metascore
    • 75 Michael O'Sullivan
    I'm Your Woman
    I’m Your Woman isn’t so much off-kilter as it is ballasted by a different, perhaps lower center of gravity. The title sounds exploitative — perhaps even silly — but the tale it spins is one of power and, ultimately, of coming unexpectedly, satisfyingly, into one’s own.
    • 61 Metascore
    • 75 Michael O'Sullivan
    Ocean's 8
    Like the gender-flipped “Ghostbusters” before it, this new movie neither reinvents not dishonors its inspiration, instead adding a modicum of zip — if less than turbocharged horsepower — to a vehicle that runs you through the staging of a crime by, ironically, obeying all the traffic laws.
    • 58 Metascore
    • 75 Michael O'Sullivan
    Shrek Forever After
    Believe it or not, there's life in the old boy yet. After a disappointing third outing, this "Shrek" brings the cycle of fairy-tale-themed films to a fine finish.
    • 64 Metascore
    • 75 Michael O'Sullivan
    Conan O'Brien Can't Stop
    It isn't as sad a movie as "Joan Rivers: A Piece of Work," another behind-the-mask documentary. It's funnier. But it's just as illuminating.
    • 59 Metascore
    • 75 Michael O'Sullivan
    Sarah's Key
    A movingly told tale of tragedy and its consequences, not just for the players in the original tragedy but also for those touched by their actions, in an ever-widening circle of aftershocks.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Louder Than a Bomb
    The real value of poetry - of the contest itself - is not revealed until the closing credits, when we see the impressive list of colleges that the movie's four subjects have gone on to.
    • 65 Metascore
    • 75 Michael O'Sullivan
    Polina
    As Polina, Shevstova delivers a performance that feels wonderfully unforced, if that’s the right word, in a role that can only be called “driven.” There’s almost an emptiness about her character. Polina’s expression of self is all on the surface — at least initially.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Linda Ronstadt: The Sound of My Voice
    If there’s one drawback to The Sound of My Voice, it’s that Ronstadt herself declined to sit down with the film’s directors, Rob Epstein and Jeffrey Friedman.
    • 69 Metascore
    • 75 Michael O'Sullivan
    It
    If it doesn’t rewrite the rules of horror, it calls attention to them, in a manner that is not just flamboyant, but also baroque.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Piranhas
    Piranhas is no documentary, but it plays out with a deadpan style that is deeply unsettling.
    • 59 Metascore
    • 75 Michael O'Sullivan
    Unbroken
    Unbroken may not exactly be mired in sanctimony, but it’s standing, almost up to its ankles, in an unhealthy sense that its subject — about whose simple humanity the film otherwise goes to great lengths to illuminate — is a candidate for sainthood.
    • 85 Metascore
    • 75 Michael O'Sullivan
    The First Wave
    The First Wave feels simultaneously hard to watch and vital, tragic and uplifting, like a backward glimpse over our shoulder at a period of conflict and struggle — in more ways than one — that we’re not quite done living through yet.
    • 50 Metascore
    • 75 Michael O'Sullivan
    Spare Parts
    It is the four young actors who play the students who truly shine, and who elevate the formulaic film above and beyond its familiar proceedings.
    • 63 Metascore
    • 75 Michael O'Sullivan
    Downton Abbey: A New Era
    The subtitle refers not only to the twilight of the 1920s but to a changing of the guard in this entertainment franchise as well. In that sense, maybe Downton Abbey isn’t really giving its fans what they want, but what they have always needed to accept in this epic saga: that time doesn’t stand still.
    • 72 Metascore
    • 75 Michael O'Sullivan
    The Search for General Tso
    A fascinating, funny and informative documentary.
    • 79 Metascore
    • 75 Michael O'Sullivan
    Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
    What happened to almost an entire generation of musicians in Cambodia isn’t a scandal. As “Forgotten” makes powerfully, passionately clear, it’s a tragedy.
    • 76 Metascore
    • 75 Michael O'Sullivan
    Cartel Land
    Cartel Land reveals a culture that spans the border, full of death and dismaying behavior on both sides, but thriving all the same.
    • 81 Metascore
    • 75 Michael O'Sullivan
    Weekend
    It's uncompromisingly steamy, in a way that seems designed to make people who are uncomfortable with a physical relationship between two men even more uncomfortable.
    • 65 Metascore
    • 75 Michael O'Sullivan
    Puss in Boots
    For a kids' movie, the humor, at times, strays a bit too far into grown-up territory.
    • 62 Metascore
    • 75 Michael O'Sullivan
    The Yellow Handkerchief
    This trio of losers somehow forms a kind of loony family. Like the one in "Little Miss Sunshine," which also used the metaphor of a broken-down car to drive home its point, the interpersonal dynamics are out of whack, but not unworkable.
    • 67 Metascore
    • 75 Michael O'Sullivan
    Rosewater
    Rosewater doesn’t hector, nor does it giggle about the issue of press freedom. It’s an impressive and important piece of storytelling.
    • 61 Metascore
    • 75 Michael O'Sullivan
    The Inevitable Defeat of Mister and Pete
    Under the direction of George Tillman Jr., these two young performers exercise remarkable restraint, never milking the material for unearned tears.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Microbe and Gasoline
    Microbe and Gasoline doesn’t reinvent the wheel, but it just might ride four of them into your heart.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Apples
    At times, Apples feels superficially slight, even — pardon me — forgettable. But Nikou, in his feature directorial debut after working as an assistant director on sets with such filmmakers as Yorgos Lanthimos (“Dogtooth”) and Richard Linklater (“Before Midnight”), has pulled off a neat little trick: He’s told a story that, for reasons that are more easily felt than explained, is hard to shake off.
    • 60 Metascore
    • 75 Michael O'Sullivan
    Kingsman: The Secret Service
    Kingsman delivers on its promise of escapist fun, with a touch that alternates between Galahad’s old-school polish and Eggsy’s roguish charm. Like the rookie who knows that you have to make a few mistakes while following the master, the movie shrugs off its missteps with a wink and a smile that makes them easy to forgive.
    • 72 Metascore
    • 75 Michael O'Sullivan
    My Entire High School Sinking Into the Sea
    It’s crazy and ridiculous at times. But I can’t help agreeing with Assaf, who observes, of his companions’ rescue plans, “I like it. It has the logic of a dream.”
    • 71 Metascore
    • 75 Michael O'Sullivan
    Emma.
    It’s a more than serviceable pleasure, for fans of Austen’s 19th-century comedy of manners and romantic misunderstanding.
    • 81 Metascore
    • 75 Michael O'Sullivan
    Truman
    Truman avoids preachiness as scrupulously as it evades certainty.
    • 67 Metascore
    • 75 Michael O'Sullivan
    Jealousy
    Jealousy is less cynical than it sounds. While certainly no love story, this dry-eyed tale feels achingly, maybe even exhilaratingly alive.
    • 65 Metascore
    • 75 Michael O'Sullivan
    Herb & Dorothy 50X50
    It’s a compelling, even stirring, tale.
    • 57 Metascore
    • 75 Michael O'Sullivan
    Permanent Midnight
    Despite some small narrative flaws, though, Stiller alone is reason to keep watching. It's a brave, scary and antic tour de force from a performer who, over the past few years, has been slowly banging his head against the glass wall of typecasting. In Permanent Midnight, the clown finally shatters the barrier and comes out the other side an actor.
    • 62 Metascore
    • 75 Michael O'Sullivan
    The Rugrats Movie
    Dizzy, delightful and just a bit deviant, "The Rugrats Movie" blends all the sarcastic sensibility of "The Simpsons" with the old-fashioned silliness of Soupy Sales.
    • 60 Metascore
    • 75 Michael O'Sullivan
    Little Joe
    If Little Joe’s message is never less than apparent, it avoids hitting you over the head with it. It’s a movie that grows on you, planting a seed that only comes to flower long after the closing credits.
    • 63 Metascore
    • 75 Michael O'Sullivan
    Let Him Go
    Surprisingly gripping and moving modern western.
    • 66 Metascore
    • 75 Michael O'Sullivan
    The One I Love
    Duplass and Moss are so good, and their reactions to the frankly nutty circumstances of the film are so plausible, that the preposterous premise of the story hits home both conceptually and emotionally.
    • 69 Metascore
    • 75 Michael O'Sullivan
    Antarctica: A Year on Ice
    Yes, it features some of the most rapturous footage of calving glaciers and ice floes — alternately freezing and thawing — that you’re likely to have seen (much of it captured on equipment designed and built by the filmmaker). But it is the simple glimpses of ordinary life in an extraordinary place that are the most stirring moments in the film.
    • 62 Metascore
    • 75 Michael O'Sullivan
    On Chesil Beach
    On Chesil Beach can feel like observing a deli worker slice a small piece of rancid cured meat, in increasingly transparent slivers of prosciutto-like thinness, and then holding them up to the light for inspection.
    • 75 Metascore
    • 75 Michael O'Sullivan
    Emily the Criminal
    A kind of gravitational pull emanates from Aubrey Plaza as the title character in Emily the Criminal, a passably diverting crime thriller where, in place of a moral center, Plaza delivers a performance that is entertainingly blackhearted.
    • 41 Metascore
    • 75 Michael O'Sullivan
    War of the Buttons
    Moving without being melodramatic, War of the Buttons is a tale of the worst -- and the best -- that people of all ages are capable of.
    • 68 Metascore
    • 75 Michael O'Sullivan
    The Five Devils
    It has elements of melodrama, of the soap opera even. But the film’s magical realism heightens its otherwise conventional contours and sharpens its otherworldly pleasures.
    • 62 Metascore
    • 75 Michael O'Sullivan
    Hotel Mumbai
    The callousness with which the terrorists operate is palpable and conveyed with a degree of verisimilitude that borders on sadism. Hotel Mumbai is a clockwork thriller, but man, is it hard to watch.
    • 67 Metascore
    • 75 Michael O'Sullivan
    The Alpinist
    There is a revealing narrative here: a conflict, a climax and a denouement that you may not expect. The Alpinist has built-in drama, simply by virtue of who and what it sets out to document.
    • 68 Metascore
    • 75 Michael O'Sullivan
    Z for Zachariah
    The acting is strong, with Robbie and Ejiofor turning in performances that feel powerfully authentic, even in moments of ethical confusion. Maybe especially in moments of ethical confusion.
    • 64 Metascore
    • 75 Michael O'Sullivan
    The Apparition
    Peculiar yet provocative film, which exerts a slow, mesmeric pull over the course of nearly 2 ½ hours.
    • 58 Metascore
    • 75 Michael O'Sullivan
    Populaire
    Populaire is a mostly delightful and entirely unironic throwback to the kind of film they stopped making about 50 years ago.
    • 51 Metascore
    • 75 Michael O'Sullivan
    Mowgli: Legend of the Jungle
    In some ways, Mowgli feels like an origin story. There’s a slight but unmistakable suggestion of a potential sequel to its open-ended climax.
    • 64 Metascore
    • 75 Michael O'Sullivan
    The Man Who Sold His Skin
    At times, The Man Who Sold His Skin plays like a cultural parody, but its aim is dead serious, and more sobering. The pathos and tragedy of the global refugee crisis is its target, not the pretensions of the international art market, and it, from time to time, delivers a sting.
    • 80 Metascore
    • 75 Michael O'Sullivan
    Lean on Pete
    At the center of this oddly riveting little picaresque is a performance of such quiet power by Plummer — as an antihero both rash and precociously resourceful — that it’s easy to overlook the film’s flaws.
    • 51 Metascore
    • 75 Michael O'Sullivan
    Live From New York!
    Live From New York! is a fun, not academic walk down memory lane.
    • 52 Metascore
    • 75 Michael O'Sullivan
    Life of a King
    The film is an effective, even heartwarming, tale of one man’s commitment to teaching that playing by the rules is more important than winning.
    • 71 Metascore
    • 75 Michael O'Sullivan
    Divide and Conquer: The Story of Roger Ailes
    Ultimately, Divide and Conquer offers useful lessons — and maybe even a little hope — for people on both sides of the national divide, about just how we came to this terrible, but not irreversible, place.
    • 55 Metascore
    • 75 Michael O'Sullivan
    Beloved
    By the time it glides -- not lumbers -- to the closing credits, it's also amazingly moving.
    • 77 Metascore
    • 75 Michael O'Sullivan
    Rita Moreno: Just a Girl Who Decided to Go for It
    The first Latina actress to win an Emmy, a Grammy, an Oscar and a Tony — the “EGOT” superfecta — Moreno doesn’t just seem to keep getting better and better, but more and more interesting.
    • 53 Metascore
    • 75 Michael O'Sullivan
    The Tender Bar
    Tender also is an apt description for the gently heartwarming tone of this appealingly low-key, faded Kodachrome coming-of-age story, capably directed by Clooney from a screenplay by William Monahan (“The Departed”).
    • 66 Metascore
    • 75 Michael O'Sullivan
    Thirteen Lives
    Thirteen Lives is a solid achievement, technically and dramatically, using a ticktock timeline and periodically superimposing on-screen maps of the miles-long cave system to build tension. Like its protagonists, it isn’t flashy but is all business. It gets the job done with a minimum of histrionics, yet a mountain of suspense.
Page:

Top Trailers

See all »
See all trailers »