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
    • 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.
    • tbd Metascore
    • 75 Sheila O'Malley
    The Opening Act
    It's a very insightful insider-baseball look at the creative process.
    • 66 Metascore
    • 75 Sheila O'Malley
    Catfight
    Tukel takes that tired cliché and blows it to smithereens. Let's hear it for unvarnished hatred expressed with no holds barred.
    • 53 Metascore
    • 75 Sheila O'Malley
    Jungleland
    Winkler, and featuring three very strong central performances and eye-catching poetic visuals, Jungleland is more of a mood-piece than anything else, and on that level it works beautifully. The mood is strange, sad, and hypnotic.
    • 74 Metascore
    • 75 Sheila O'Malley
    Beast
    One of the strengths of the film, also written by Pearce, is how much it is willing to withhold, without descending into "Gotcha!" manipulation.
    • 76 Metascore
    • 75 Sheila O'Malley
    Housebound
    Housebound is a standout, though, because of its satirical mood and its multiple scenes of almost screwball comedy.
    • 47 Metascore
    • 75 Sheila O'Malley
    Puerto Ricans in Paris
    It's charming. It's funny. The case they investigate has a legitimate twist to it, there's a lot of French intrigue, there's much that is totally implausible, but the film lives or dies on the dynamic of the two main guys. It lives.
    • 42 Metascore
    • 75 Sheila O'Malley
    The Internship
    The moments of sentiment, when they come, feel fully earned, and they come out of characterization.
    • 65 Metascore
    • 75 Sheila O'Malley
    Wild Diamond
    Wild Diamond doesn’t judge or look down on its main character and doesn’t try to control how we view her. This is a welcome rarity.
    • 76 Metascore
    • 75 Sheila O'Malley
    The Light of the Moon
    A nuanced and sensitive exploration of the many ways rape affects a person's life.
    • 67 Metascore
    • 75 Sheila O'Malley
    Light of My Life
    Affleck's acting style has always been understated to the point of barely existing. It's why he was riveting in “The Assassination of Jesse James by the Coward Robert Ford,” in particular. Affleck drifts, he floats through dialogue, he doesn't have words at his easy disposal. This works well for him here.
    • 58 Metascore
    • 75 Sheila O'Malley
    Back to Burgundy
    When the film focuses on the wine-making process, in the progression from vine to bottle, it's a fascinating and detailed look at a very specific subculture.
    • 70 Metascore
    • 75 Sheila O'Malley
    The King
    The King has a restless, kaleidoscopic, take-a-snapshot-and-move-on energy. In many ways, it's a documentary about everything, it's a documentary about "then" and it's a documentary about "right now."
    • 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.
    • 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.
    • 63 Metascore
    • 75 Sheila O'Malley
    Love at First Fight
    Madeleine (Adele Haenel) does not know that she is a character in a rom-com. She thinks she's in a war movie. Or, better yet, a dystopian post-apocalyptic movie. Anything but a rom-com. She does not smile until an hour and 20 minutes into Love at First Fight.
    • 56 Metascore
    • 75 Sheila O'Malley
    I Am Michael
    Kelly is finding his sea-legs as a director. Kelly spends equal amounts of time with Michael's pre-conversion life as he does post-conversion. The conversion itself is pretty well done, all things considered.
    • 70 Metascore
    • 75 Sheila O'Malley
    All About Nina
    All About Nina has moments of stark tragedy alongside the vivid comedy, plus a third-act revelation of what has made Nina so angry.
    • 76 Metascore
    • 75 Sheila O'Malley
    I Carry You with Me
    I Carry You with Me is a complicated film, in many ways, and it covers a lot of ground, but the emotions portrayed are simple and human-sized.
    • 83 Metascore
    • 75 Sheila O'Malley
    Prayers for the Stolen
    Of all of the things Tatiana Huezo captures in Prayers for the Stolen, her first narrative feature, the terror of the night is most unnerving.
    • 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.
    • 78 Metascore
    • 75 Sheila O'Malley
    birth/rebirth
    Birth/rebirth has some "body horror" tropes and some straight horror tropes, but it's not really a monster story. It's more of a medical thriller, helmed by two twisted conspirators, both operating from a place of desperation and trauma.
    • 69 Metascore
    • 75 Sheila O'Malley
    Digging for Fire
    Digging for Fire wants to talk about serious topics and it wants to do so in a humorous light-hearted way. It succeeds.
    • 64 Metascore
    • 75 Sheila O'Malley
    Gaia
    Gaia does not feel like homework. It's a thought-provoking and disturbing experience rather than a lecture.
    • 82 Metascore
    • 75 Sheila O'Malley
    Mercury 13
    At a brisk and efficient 78-minutes, Mercury 13 is engaging, yet sadness and anger seeps in as it progresses.
    • 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.
    • 77 Metascore
    • 75 Sheila O'Malley
    Women Talking
    Sarah Polley's trust in the material—and her actors—allows for the performances to flourish, and the performances drive the story along with the barrage of words.
    • 63 Metascore
    • 75 Sheila O'Malley
    Young & Beautiful
    Young and Beautiful doesn't have the eerie power of some of Ozon's other films, like "In the House" or "Swimming Pool," but it is still a fascinating experience.
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