Sheila O'Malley Movie Reviews & Previews - Rotten Tomatoes

Sheila O'Malley

Sheila O'Malley
Sheila O'Malley's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Chicago Sun-Times, Film Comment Magazine, RogerEbert.com, The Dissolve

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/4 100% The Girl Without Hands (La Jeune fille sans mains) (2017) Laudenbach's style is haunting. Some of his artwork stops you in your tracks. What he does best is create a palpable sense of dread without pushing, without tilting into melodrama.‐ RogerEbert.com
Read More | Posted Jul 21, 2017
2.5/4 73% To the Bone (2017) There are aspects of this approach that are refreshing. Noxon clearly knows the territory. But the end result is confusing and unfocused.‐ RogerEbert.com
Read More | Posted Jul 14, 2017
3/4 100% Birthright: A War Story (2017) The message is clearly more important than how it is told.‐ RogerEbert.com
Read More | Posted Jul 14, 2017
2/4 20% Austin Found (2017) Austin Found features a great ensemble cast, but never manages to explore unique territory.‐ RogerEbert.com
Read More | Posted Jul 7, 2017
4/4 75% The Little Hours (2017) A riotous medieval-era sex romp played with lunatic conviction by a great cast.‐ RogerEbert.com
Read More | Posted Jun 30, 2017
3.5/4 78% The Beguiled (2017) The kind of movie that lingers on in your head, just like the best fairy tales do.‐ RogerEbert.com
Read More | Posted Jun 23, 2017
1.5/4 68% The Journey (2017) The real-life version of how these two mortal enemies became so close that they were referred to in the press as 'The Chuckle Brothers' is way more interesting than the 'imagined' version presented in the film.‐ RogerEbert.com
Read More | Posted Jun 16, 2017
3.5/4 83% Megan Leavey (2017) The emotion in Megan Leavey is not forced. It flows, up and down the leash, just like it's supposed to.‐ RogerEbert.com
Read More | Posted Jun 9, 2017
3/4 85% Band Aid (2017) Lister-Jones is the very definition of a 'phenom' and if the film sometimes falls back on cliché, there's enough charm and interest here--particularly in the chemistry between the two leads--to keep it afloat.‐ RogerEbert.com
Read More | Posted Jun 2, 2017
3.5/4 95% The Women's Balcony (Ismach Hatani) (2017) While the mood is that of a gentle and affectionate comedy, the film makes some extremely sharp points about fanaticism, sexism masked as holiness, and tolerance among the faithful.‐ RogerEbert.com
Read More | Posted May 26, 2017
2/4 72% The Commune (Kollektivet) (2017) These are all fascinating concepts, but The Commune isn't all that interested in exploring them.‐ RogerEbert.com
Read More | Posted May 19, 2017
3.5/4 71% Manifesto (2017) Blanchett delivering these intimidating texts, and completely changing the internal context from which each text emerges, is so breathlessly inventive that it's nothing less than totally entertaining.‐ RogerEbert.com
Read More | Posted May 10, 2017
84% The Wedding Plan (2017) The Wedding Plan, with its beautiful flow between comedy and sentiment, celebrates the pursuit of love, its absurdity, intensity, and power.‐ Film Comment Magazine
Read More | Posted May 9, 2017
3/4 79% Chuck (2017) Chuck does nothing new, and it moves through boxing tropes like it's ticking off checkmarks, but there's an honesty to it, a fresh and messy one.‐ RogerEbert.com
Read More | Posted May 5, 2017
3.5/4 68% Take Me (2017) The fun of Take Me is watching these two actors go toe-to-toe in scene after scene. Healy knows that as a director. His approach is simple, unadorned, and gets the job done.‐ RogerEbert.com
Read More | Posted May 5, 2017
2/4 58% Small Crimes (2017) Small Crimes works in part but is strangely murky in others. There's a lot of dead air.‐ RogerEbert.com
Read More | Posted Apr 28, 2017
4/4 88% Heal the Living (Réparer les vivants) (2017) This is deeply human filmmaking.‐ RogerEbert.com
Read More | Posted Apr 14, 2017
2.5/4 92% Win It All (2017) For the high stakes involved, Win It All feels strictly low stakes.‐ RogerEbert.com
Read More | Posted Apr 7, 2017
1.5/4 43% The Discovery (2017) The entire thing feels like it's happening underwater, sound distorted, movements impeded. A lot happens, but without any urgency inspiring it.‐ RogerEbert.com
Read More | Posted Mar 31, 2017
2/4 60% The Zookeeper's Wife (2017) [The Zookeeper's Wife] has many lovely and moving moments but fails to capture the many layers of this unique story, relying instead on plainly-stated metaphors.‐ RogerEbert.com
Read More | Posted Mar 29, 2017
1.5/4 71% This Beautiful Fantastic (2017) A very low-stakes fairy tale, wrapped in a strained garden metaphor.‐ RogerEbert.com
Read More | Posted Mar 10, 2017
3/4 73% Catfight (2017) Catfight is not the story of two gals who hate each other and then realize, over appletinis, how much they have in common. Tukel takes that tired cliché and blows it to smithereens.‐ RogerEbert.com
Read More | Posted Mar 3, 2017
3/4 82% Kiki (2017) One thing Kiki does really well is show how these dance competitions are an organizational structure for kids who might otherwise slip through the cracks.‐ RogerEbert.com
Read More | Posted Mar 1, 2017
3/4 69% American Fable (2017) American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style, its confidence in what it is about.‐ RogerEbert.com
Read More | Posted Feb 17, 2017
4/4 98% Kedi (2017) Caring for one another and caring for animals may seem like a small thing, but Torun's affectionate portrait of these cats-and the people who love them-makes it seem like the most important thing in the world.‐ RogerEbert.com
Read More | Posted Feb 10, 2017
2/4 10% Fifty Shades Darker (2017) Fifty Shades Darker may wear leather and chains, but it's still a retro bore.‐ RogerEbert.com
Read More | Posted Feb 10, 2017
3.5/4 85% Mr. Gaga: A True Story of Love and Dance (2017) A superb dance documentary in its almost single-minded focus on process.‐ RogerEbert.com
Read More | Posted Feb 1, 2017
3/4 66% I Am Michael (2017) Kelly is finding his sea-legs as a director.‐ RogerEbert.com
Read More | Posted Jan 27, 2017
3.5/4 90% Ma (2017) A bold and unique film that has 'personal' written all over it. No one else could have made it.‐ RogerEbert.com
Read More | Posted Jan 13, 2017
4/4 100% Bright Lights: Starring Carrie Fisher and Debbie Reynolds (2017) A tender, human, and very, very funny portrait of Hollywood royalty.‐ RogerEbert.com
Read More | Posted Jan 6, 2017
4/4 89% 20th Century Women (2017) The most pleasurable aspect of 20th Century Women (and it's pleasurable throughout) is that it allows itself to be messy.‐ RogerEbert.com
Read More | Posted Dec 23, 2016
2.5/4 81% Patriots Day (2017) Berg and company have recreated familiar events in a gripping and immediate narrative.‐ RogerEbert.com
Read More | Posted Dec 21, 2016
2/4 39% All We Had (2016) With her well-meaning desire to create an inspirational story of survival and redemption, Holmes has kept the entire film extremely low-stakes.‐ RogerEbert.com
Read More | Posted Dec 9, 2016
3.5/4 100% Things to Come (L'avenir) (2016) Hansen-Løve's gift is in presenting this vast internal journey with elegance and clarity, resisting the urge for scenery-chewing catharsis.‐ RogerEbert.com
Read More | Posted Dec 2, 2016
2.5/4 75% Miss Sloane (2016) The film is not so much tone-deaf as old-fashioned, emerging from a more innocent time (say, three weeks ago) when politics as usual actually had some meaning.‐ RogerEbert.com
Read More | Posted Nov 25, 2016
3/4 89% Always Shine (2016) None of this would be possible without the extraordinary performances of these two actresses. ‐ RogerEbert.com
Read More | Posted Nov 25, 2016
2.5/4 84% I Am Not Madame Bovary (2016) It's a pleasure to look at the screen and to watch the artistry of the entire creative team. But there's a forbidding quality to the entire enterprise.‐ RogerEbert.com
Read More | Posted Nov 18, 2016
4/4 90% Elle (2016) Watching Elle feels like climbing Mt. Everest without an oxygen tank. The air is dizzyingly clear up there. And dangerous, too.‐ RogerEbert.com
Read More | Posted Nov 11, 2016
3/4 76% In a Valley of Violence (2016) In a Valley of Violence does not take itself too seriously (a great asset), but it also takes itself just seriously enough that it's not empty snarky parody.‐ RogerEbert.com
Read More | Posted Oct 21, 2016
2.5/4 88% Christine (2016) There are questions of exploitation that nag throughout, as well as a queasy feeling that we the audience are participating in exploiting this troubled woman all over again.‐ RogerEbert.com
Read More | Posted Oct 14, 2016
3/4 92% Little Sister (2016) A quiet and gentle film, emotional but not manipulatively sentimental, sad but not nihilistic, Marilyn Manson epigram and Goth-font chapter markers notwithstanding.‐ RogerEbert.com
Read More | Posted Oct 14, 2016
4/4 99% Under The Shadow (2016) There is no escape, for characters or audience. Under the Shadow is unnerving in the extreme.‐ RogerEbert.com
Read More | Posted Oct 7, 2016
3/4 79% Audrie & Daisy (2016) Audrie & Daisy is a stark portrait of a problem which is not in any way local, aberrant, or random. The problem is systemic.‐ RogerEbert.com
Read More | Posted Sep 23, 2016
3/4 100% Southwest of Salem: The Story of the San Antonio Four (2016) A powerful act of advocacy.‐ RogerEbert.com
Read More | Posted Sep 16, 2016
3.5/4 84% Kicks (2016) Kicks is not without its flaws, but even the flaws show Tipping's willingness to take risks, to go for the big gesture and to go for it honestly. ‐ RogerEbert.com
Read More | Posted Sep 9, 2016
2.5/4 15% The Wild Life (2016) There's always a lot to look at. The script is so-so, but the total lack of snark and cynicism in the film is refreshing.‐ RogerEbert.com
Read More | Posted Sep 9, 2016
94% Among the Believers (2016) Trivedi and Naqvi put together this multi-tentacled story using a daunting variety of footage, news reports and archival film mixed with interviews. It paints an extremely grim picture.‐ RogerEbert.com
Read More | Posted Sep 2, 2016
2/4 71% White Girl (2016) Director Elizabeth Wood's style is immersive and raw, although to what end is not clear.‐ RogerEbert.com
Read More | Posted Sep 2, 2016
2/4 83% In Order of Disappearance (2016) The killings are creative and brutal, but eventually the whole structure of it becomes an empty, slick exercise in style. ‐ RogerEbert.com
Read More | Posted Aug 26, 2016
3/4 95% Spa Night (2016) Even with its flaws, Spa Night is an extremely personal film. We need more of those.‐ RogerEbert.com
Read More | Posted Aug 19, 2016