Sheila O'Malley

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RogerEbert.com
For 605 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: 465 out of 605
  2. Mixed: 69 out of 605
  3. Negative: 71 out of 605
605 movie reviews
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    • 80 Metascore
    • 75 Sheila O'Malley
    The Eternal Daughter
    The Eternal Daughter feels like a first draft, or a sketch to be filled in later. This is perhaps reflected in onscreen Julie's struggles to even write an outline. Hogg's outlines, though, are more interesting than other people's finished products. There's always so much to think about.
    • 67 Metascore
    • 75 Sheila O'Malley
    Lady Chatterley's Lover
    You feel you are running alongside the characters, trying to catch up with them on their journeys forward.
    • 57 Metascore
    • 50 Sheila O'Malley
    There There
    There There doesn't come to life, even as an intellectual or artistic exercise.
    • 76 Metascore
    • 75 Sheila O'Malley
    Something in the Dirt
    Something in the Dirt has the gritty DIY-vibe of the no-budget world from which it sprang, and is both thought-provoking and crazy-making, just like the mood it presents.
    • 62 Metascore
    • 75 Sheila O'Malley
    I'm Totally Fine
    Brandon Dermer's I'm Totally Fine is a funny and charming movie, with two entertaining performances from Jillian Bell and Natalie Morales at its center, but where it really works is in its understanding of grief, and how grief can turn someone's world—and mind—upside down.
    • 62 Metascore
    • 75 Sheila O'Malley
    Call Jane
    Call Jane is about an important subject, but it's also a character study of one woman waking up, not just to her own strength, but to the fact that she's hidden in the suburbs for too long. It's time to help others. It's a very satisfying character arc.
    • 95 Metascore
    • 100 Sheila O'Malley
    Aftersun
    Consciousness operates on multiple tracks and Aftersun understands this. The multi-level awareness is not in the dialogue, but it's there in the film's gentle rhythms, the editorial choices, the patience and sensitivity of Wells' approach.
    • tbd Metascore
    • 38 Sheila O'Malley
    The Loneliest Boy in the World
    Not enough happens in The Loneliest Boy in the World. There's not enough conflict. The film relies too heavily on cliche and hopes the audience won't notice.
    • 72 Metascore
    • 75 Sheila O'Malley
    Sirens
    Baghadi and lead editor Grace Zahrah piece together the footage into a collage of yearning, ambition, and what can only be called gumption. It's inspirational, of course, but it's also thoughtful and meditative.
    • 70 Metascore
    • 100 Sheila O'Malley
    The Justice of Bunny King
    Everything in The Justice of Bunny King—the clothes, the car, the decor, Bunny's sharpened eyeliner pencil, the plastic cake box, the worn-out bra—hasn't been carefully placed in the frame. They were there before the camera started rolling, and they will be thereafter.
    • 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.
    • tbd Metascore
    • 75 Sheila O'Malley
    We Are As Gods
    We Are as Gods works best as a history lesson as seen through one man's journey: from Haight-Ashbury bacchanals to early computer labs to the Siberian steppe.
    • 82 Metascore
    • 88 Sheila O'Malley
    The Cathedral
    The Cathedral marries form to content in a striking way.
    • 73 Metascore
    • 75 Sheila O'Malley
    Funny Pages
    This is Owen Kline's first feature, and he knows this world—the world of comic book obsessives and hopeful comics artists—very well. Nostalgia is probably at work in the film—somewhere—but it's buried under layers of grime and bitter disillusionment.
    • 58 Metascore
    • 63 Sheila O'Malley
    Spin Me Round
    Baena is obviously having fun presenting the familiar tropes and then subverting them, but these pieces don't really fit together, nor do they lead to a satisfying conclusion.
    • 75 Metascore
    • 100 Sheila O'Malley
    Emily the Criminal
    This is John Patton Ford's directorial debut, and it is an extremely impressive piece of work.
    • 70 Metascore
    • 50 Sheila O'Malley
    What Josiah Saw
    The family trauma is so clotted-thick, a faster pace and tightened-up editing might have eradicated the slow-motion underwater feel of the whole.
    • 70 Metascore
    • 75 Sheila O'Malley
    Resurrection
    Written and directed by Andrew Semans, Resurrection is a diabolically intense psychological thriller, with two riveting central performances from Hall and Tim Roth, neither of whom shy away from the dark nutty territory they are required to enter.
    • 54 Metascore
    • 75 Sheila O'Malley
    How to Please a Woman
    There's a little Magic Mike XXL in the mix of How to Please a Woman, with its merry band of eager-to-please strippers, although How to Please a Woman also hearkens back to The Full Monty in its surprisingly profound look at pleasure.
    • 73 Metascore
    • 75 Sheila O'Malley
    She Will
    She Will isn't exactly a horror movie. It has its creepy moments, particularly in the visual collages and Clint Mansell's unnerving score, but it's more thought-provoking than scary.
    • 73 Metascore
    • 100 Sheila O'Malley
    Both Sides of the Blade
    Both Sides of the Blade is a romance, a love triangle, a marriage drama, an infidelity narrative, all familiar ground, but Denis' approach is her own.
    • 77 Metascore
    • 75 Sheila O'Malley
    Clara Sola
    This is Mesén's debut feature film, and it's a powerful and intuitive piece of work.
    • 78 Metascore
    • 88 Sheila O'Malley
    Good Luck to You, Leo Grande
    Everything depends on the feel of the moment, the way the actors look at each other, or listen, or react. Directed by Sophie Hyde, with a script by Katy Brand, these risks more than pay off, and often in very unexpected ways.
    • 81 Metascore
    • 75 Sheila O'Malley
    Lost Illusions
    Xavier Giannoli's film adaptation of Balzac's book leans heavily on voiceover, so much so that some sequences are practically an audiobook with images attached. This could be seen as a negative, but in practice the voiceover-heavy sections are some of the film's most successful.
    • 72 Metascore
    • 75 Sheila O'Malley
    Watcher
    This is a stylized affair, and the care taken with every choice—the apartment interior, the furnishings, the color of the curtains, Julia's red sweater and red tights, etc.—is meticulous. The film crackles with icy dread.
    • 80 Metascore
    • 88 Sheila O'Malley
    Dinner in America
    Dinner in America, written, directed, and edited by Adam Rehmeier, is a movie with anti-establishment anti-social quicksilver coursing through its veins, but at its heart it is a sweet love story, one of the sweetest in recent memory.
    • 62 Metascore
    • 75 Sheila O'Malley
    The Valet
    The film resonates with deeper messages: the damage done by gentrification, the abyss between the haves and the have-nots, the poor treatment of workers by elites. You don't expect a romcom to explore these issues. But The Valet does. It works.
    • 59 Metascore
    • 50 Sheila O'Malley
    All My Puny Sorrows
    All My Puny Sorrows has all the elements to pack a devastating punch, but there's no real sense of urgency. It's like people are just marking time, like the end has already been determined, it's just a matter of resigning oneself to the inevitable.
    • 73 Metascore
    • 63 Sheila O'Malley
    Anaïs in Love
    There are some similarities in all of this to Joachim Trier's "The Worst Person in the World" (particularly the women’s hairstyles, as well as all that running), but the mood and tone is entirely different, less meditative, less mournful.
    • 51 Metascore
    • 63 Sheila O'Malley
    Stanleyville
    "Stanleyville" is part Stanford Prison Experiment and part MTV's "The Real World." It's part Milgram experiment and part "Squid Game."
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