Sheila O'Malley

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RogerEbert.com
For 606 reviews, this critic has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Sheila O'Malley's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Under the Shadow
Lowest review score: 0 The Haunting of Sharon Tate
Score distribution:
  1. Positive: 466 out of 606
  2. Mixed: 69 out of 606
  3. Negative: 71 out of 606
606 movie reviews
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    • 69 Metascore
    • 88 Sheila O'Malley
    Suzi Q
    Suzi Q is a portrait of Quatro's journey and her influence on the generations that came after. Most importantly, it is a history lesson for those who may not be aware of Quatro. As Joan Jett, one of the many people interviewed, says, "[Suzi] really should be one of those people who should be much more discussed, much more in the lexicon of musicians—especially being so early."
    • 69 Metascore
    • 75 Sheila O'Malley
    Blood Brothers: Malcolm X & Muhammad Ali
    The montage of footage—New York street scenes in the 1950s, 1960s, the press conferences, speeches, footage of the men getting off airplanes, surrounded by a crush of people, or laughing together, talking together, is mesmerizing. Individually and together, both men “shook up the world.” Blood Brothers shows why.
    • 69 Metascore
    • 63 Sheila O'Malley
    The Galapagos Affair: Satan Came to Eden
    The best part may very well be an actual 1932 silent movie, filmed on Floreana, and shown in its entirety in "Galapagos Affair".
    • 69 Metascore
    • 63 Sheila O'Malley
    Patriots Day
    The hero worship of a fictional character in the midst of all of this real-life drama is a mistake.
    • 69 Metascore
    • 63 Sheila O'Malley
    The Sentence
    It's an emotionally exhausting film — but a little bit of perspective might have resulted in an even more politically urgent document. As it is, though, The Sentence is the beginning of a conversation that needs to continue.
    • 69 Metascore
    • 75 Sheila O'Malley
    Greener Grass
    The golf cart scene is an excellent example of what Greener Grass is attacking, and it's a sharp and subversive critique: it would be great to live in a more civil world, but too much civility leads to golf carts stalled at a four-way intersection.
    • 69 Metascore
    • 75 Sheila O'Malley
    A Gay Girl in Damascus: The Amina Profile
    A compelling and insightful examination of this strange story, and it utilizes the cooperation of Sandra Bagaria, the Canadian woman who had been in a long-distance romantic relationship with Amina (even though the two had never met.)
    • 69 Metascore
    • 88 Sheila O'Malley
    The Deepest Breath
    Eloquent and moving, The Deepest Breath shows what it's like "down there," why people risk their lives to free fall into the blackness where it is so quiet, and why they also risk their lives to bring divers in trouble back up to the noisy surface.
    • 69 Metascore
    • 75 Sheila O'Malley
    The Wasp
    Watching Harris and Dormer create this event together is why I love going to the movies. In that elegant, horrible townhouse, anything could happen. And anything does.
    • 69 Metascore
    • 63 Sheila O'Malley
    Marianne & Leonard: Words of Love
    Marianne and Leonard turns out to be a rather run-of-the-mill documentary about Cohen's journey, taking us down well-documented paths.
    • 69 Metascore
    • 75 Sheila O'Malley
    Magpie
    In its style, “Magpie” is a marital thriller with noir trappings galore, including an almost ridiculously convoluted (yet satisfying) conclusion. Still, it’s most effective as the study of an angry wife’s chaotic psychological state.
    • 69 Metascore
    • 100 Sheila O'Malley
    Sightseers
    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.
    • 68 Metascore
    • 75 Sheila O'Malley
    I Used to Go Here
    This sounds very dark. But I Used to Go Here, grounded by a beautiful performance from Gillian Jacobs, treats its subject light-heartedly, while still managing to be honest.
    • 68 Metascore
    • 75 Sheila O'Malley
    Ask Dr. Ruth
    The film does a great job of contextualizing the phenom of Dr. Ruth.
    • 68 Metascore
    • 88 Sheila O'Malley
    The Homesman
    The Homesman doesn't play things safe, and that's a welcome change.
    • 68 Metascore
    • 88 Sheila O'Malley
    Everything Went Fine
    Based on the autobiographical book Everything Went Well by the late Emmanuèle Bernheim (a frequent Ozon collaborator), Everything Went Fine is an emotional and complex portrait of a family in crisis, the father's stroke exposing underlying cracks, old pains, new anxieties.
    • 77 Metascore
    • 100 Sheila O'Malley
    The Heiresses
    Emotions never before experienced come surging to the surface. How Martinessi pulls this off — in what is his first feature — is nothing less than extraordinary.
    • 95 Metascore
    • 100 Sheila O'Malley
    Collective
    Alexander Nanau's Collective has a propulsive energy, relentlessly building in urgency and outrage.
    • 68 Metascore
    • 88 Sheila O'Malley
    Una Noche
    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
    True Things
    For those of you who miss films made by adults and for adults, films which treat things like sex and loneliness with respect and honesty, "True Things" isn't to be missed.
    • 68 Metascore
    • 75 Sheila O'Malley
    Chuck
    Chuck ultimately works, mainly because Schreiber is so watchable. There's something compelling about seeing a man who is so strong and so weak, simultaneously. You like him in spite of him.
    • 68 Metascore
    • 88 Sheila O'Malley
    The Water Man
    Children absorb everything, good and bad, all the stresses, heartbreak, anxiety of the adults around them. Children can handle the difficult things. Oyelowo knows this and respects it.
    • 68 Metascore
    • 63 Sheila O'Malley
    Sometimes I Think About Dying
    Sometimes I Think About Dying feels like it needs one more "act" to complete its arc. It's an unfinished bridge. The film attempts an eventual catharsis, but there's just not enough information to get us across the river. We're left hanging.
    • 71 Metascore
    • 75 Sheila O'Malley
    National Anthem
    The theme is present in every frame. Gilford's affection for the characters is clear. I'm happy to have met them, to have been welcomed into their world for a short time.
    • 68 Metascore
    • 63 Sheila O'Malley
    Bethlehem
    When it stays with the two leads, one Israeli, one Palestinian, it makes a compelling story.
    • 68 Metascore
    • 88 Sheila O'Malley
    Red Obsession
    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.
    • 68 Metascore
    • 63 Sheila O'Malley
    We the Parents
    We the Parents, one-sided and promotional as it often feels, presents a possible solution, as well as the difficulties in achieving it.
    • 68 Metascore
    • 88 Sheila O'Malley
    Never Look Away
    At a daunting 188 minutes long, Never Look Away takes its time, doesn't force its themes. Like one of those novels that follows a family through multiple generations, Never Look Away follows Kurt from Dresden, to Düsseldorf, to Berlin.
    • 68 Metascore
    • 75 Sheila O'Malley
    The Nightmare
    The Nightmare is more effective than the esoteric "Room 237" because it represents a full immersion into a common human experience. The re-enactments are superb.
    • 90 Metascore
    • 88 Sheila O'Malley
    All of Us Strangers
    This potentially maudlin stuff is elevated by the work of all of the actors. What matters here is not just what is being said, but the emotions underneath.
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