Andrew O'Hehir
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For 1,394 reviews, this critic has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 9.8 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 8MM
Score distribution:
1,394 movie reviews
    • 41 Metascore
    • 30 Andrew O'Hehir
    There’s enough craft and intelligence at work here that you can’t dismiss Raze as meaningless sadism, but not nearly enough to make it worth the unpleasantness of actually watching it.
    • 35 Metascore
    • 30 Andrew O'Hehir
    For all the filmmakers' talk about reinvigorating the franchise for a new generation, and all their attention to technical details, this is a sloppily conceived remake with no passion for the genre or this story behind it, a movie that assumes its audience is brain-dead and likes it that way.
    • 20 Metascore
    • 30 Andrew O'Hehir
    It's a little bit Tolkien, a little bit Lucas, a little bit "Matrix," a little bit "Dune" and rather too much Philip Pullman, all stuck together with some powerfully expensive effects and lots of cute kids doing tai chi.
    • 59 Metascore
    • 30 Andrew O'Hehir
    This might be the edgiest film of the year -- if the year were 1982.
    • 71 Metascore
    • 30 Andrew O'Hehir
    An academic exercise driven by adolescent ideas that never shape themselves into a narrative: in short, a movie that can never dislodge the art fatally wedged up its butt.
    • 28 Metascore
    • 30 Andrew O'Hehir
    Off the top of my head, I'm guessing that Season of the Witch claims a place in the top five all-time bizarre and pointless homages to art cinema.
    • 52 Metascore
    • 30 Andrew O'Hehir
    A pallid, mediocre tale that treacles its way through well-worn channels.
    • 41 Metascore
    • 30 Andrew O'Hehir
    It’s not just that Chappie is a mishmash of familiar ingredients whose story quickly slides off the rails into a swamp of action-movie clichés, or another misbegotten project from the Land of Intriguing Premises. It doesn’t have an intriguing premise in the first place. It’s cluttered, goofy and incoherent from beginning to end, and much too long.
    • 56 Metascore
    • 30 Andrew O'Hehir
    A movie that's laughable without, alas, even being enjoyably awful.
    • 60 Metascore
    • 30 Andrew O'Hehir
    Edward Norton's dopey directorial debut gives interfaith romance a bad name.
    • 33 Metascore
    • 30 Andrew O'Hehir
    An Adam Sandler comedy, which means it bears only a superficial relationship to the customary conventions of moviemaking, and also that there's no use getting all worked up about that.
    • 47 Metascore
    • 30 Andrew O'Hehir
    Stupid, empty and -- worst of all -- fantastically boring.
    • 31 Metascore
    • 30 Andrew O'Hehir
    Ludicrous trash, but it has style.
    • 40 Metascore
    • 30 Andrew O'Hehir
    No wonder Arlene (Hunt) keeps a bottle of vodka in the chandelier. You would too with this demonic, passive-aggressive, New Age munchkin (Osment) trying to run your life.
    • 48 Metascore
    • 30 Andrew O'Hehir
    You could definitely call it awful, and I'm about to do so, repeatedly and effusively. In fact, One Day is an appallingly bad movie made by talented people who could and should have done much better, but somehow all drove off the cliff together.
    • 36 Metascore
    • 30 Andrew O'Hehir
    Between the 12th floor and the 14th floor, boredom awaits!
    • 9 Metascore
    • 30 Andrew O'Hehir
    Shot after shot photographed at wobbly, off-center angles for no particular reason, weigh every action sequence down with super-slo-mo in lame imitation of "The Matrix" or end every single scene with a vertical wipe.
    • 58 Metascore
    • 30 Andrew O'Hehir
    Stoker, which plays something like a remake of “The Addams Family” mixed with “The Paperboy” — but without the laughs of either – belongs in a special category of movie badness, or perhaps two different but overlapping categories. It’s a visually striking but fundamentally terrible film made by a good or (some would say) great director.
    • 32 Metascore
    • 30 Andrew O'Hehir
    That whole aspect of October Baby creeped me out a lot more than the blood-curdling failed-abortion story did, honestly. I've seen a lot of movies where crazy and impossible things happen, and you just have to roll with them. Real life is much more frightening.
    • 57 Metascore
    • 30 Andrew O'Hehir
    Director Cook and screenwriter Anthony Frewin were both intimates of the real Kubrick, which I guess counts for something. But for what, exactly? Does it uniquely qualify them to make a mean-spirited, trashy and intermittently funny film about a guy who wasn't Kubrick?
    • 46 Metascore
    • 30 Andrew O'Hehir
    Renders Jonathan Safran Foer's best-selling 2005 novel into unconvincing Hollywood mush.
    • 19 Metascore
    • 30 Andrew O'Hehir
    I don't even care that there's no plot in this Antonio Banderas-Lucy Liu faceoff. It's still terrible!
    • 63 Metascore
    • 30 Andrew O'Hehir
    Scorsese is pushing, I guess, for something that combines a '40s horror-thriller with a contemporary psychological tragedy. What he ends up with is more like a Hardy Boys mystery directed by David Lynch.
    • 45 Metascore
    • 30 Andrew O'Hehir
    Luc Besson and Liam Neeson and the rest of the furriners who made the inept and offensive Taken 2 don't seem to have gotten the memo from Jason Bourne: Americans don't think our spooks are good guys anymore.
    • 33 Metascore
    • 30 Andrew O'Hehir
    It's a challenge to take a comic-book adaptation that stars Josh Brolin, John Malkovich and Megan Fox and drain nearly all the fun out of it. Jonah Hex is one of those movies that combines a certain amount of being ridiculous on purpose with a great deal of pseudo-profound silliness.
    • 43 Metascore
    • 30 Andrew O'Hehir
    A dreary, humorless affair, with no real feeling for the rhythms of either baseball or love.
    • 21 Metascore
    • 30 Andrew O'Hehir
    This is a movie full of now-you-see-it, now-you-don't plot points.
    • 33 Metascore
    • 30 Andrew O'Hehir
    It's not merely that Dear Wendy was shot on Danish and German locations that don't look quite right; it's that almost every decision made by the production designers is wrong, or at least discordant.
    • 63 Metascore
    • 30 Andrew O'Hehir
    Fitzgerald’s influence could have crept in there by osmosis, and whatever other charges you want to level against Spring Breakers – such as incoherence, plotlessness, salaciousness and mind-numbing monotony – it has no lack of high concept.
    • 39 Metascore
    • 30 Andrew O'Hehir
    Doesn't work at any level, but the total lack of chemistry between its central couple is fatal.
    • 48 Metascore
    • 30 Andrew O'Hehir
    What we've really got here is a tame screwball adventure dressed up with some desert scenery and some awful computer graphics.
    • 56 Metascore
    • 30 Andrew O'Hehir
    His scattershot and ad hominem attacks against many different forms of religious hypocrisy don't add up to a coherent critique, and he's not qualified to provide one.
    • 50 Metascore
    • 30 Andrew O'Hehir
    A would-be tween-oriented hit so scrubbed and sanitized and not worthy of paying attention to that it can barely be said to exist at all.
    • 33 Metascore
    • 30 Andrew O'Hehir
    Familiar and profoundly unoriginal.
    • 61 Metascore
    • 30 Andrew O'Hehir
    Rarely has a film with such a great cast and so many moments of terrific writing and such high dramatic goals been so messy and disorganized and fundamentally bad.
    • 47 Metascore
    • 30 Andrew O'Hehir
    The story sounds great, on paper: It''s got interracial romance and betrayal, political and ethnic violence, and a faint feminist undercurrent. But the resulting movie is so pretty and so utterly lifeless you can almost smell the embalming fluid coming off the screen.
    • 27 Metascore
    • 30 Andrew O'Hehir
    This well-crafted example just piles imaginary atrocities on top of real ones, and then halfheartedly claim that it means something. Well, it doesn't.
    • 20 Metascore
    • 30 Andrew O'Hehir
    What makes it so disappointing is that the movie is just another sub-Farrelly-brothers collection of miscellaneous gags.
    • 51 Metascore
    • 30 Andrew O'Hehir
    It's exactly the sort of movie that Hollywood specializes in, the kind which seems on paper as if it ought to be entertaining, but winds up a massive and chaotic drag.
    • 47 Metascore
    • 30 Andrew O'Hehir
    It's all just an embarrassment, the kind of pointless slog you'll encounter on Netflix in two years and wonder, How the hell did that get made?
    • 48 Metascore
    • 30 Andrew O'Hehir
    It sometimes produces moments of unexpected power. It also produces a bizarre and fatally uneven movie, veering from black comedy to utter stupidity to maudlin religiosity, which seems to have been made in total defiance of both narrative conventions and emotional logic.
    • 21 Metascore
    • 30 Andrew O'Hehir
    Pretty much everything in this high-space war yarn has been swiped from other, better movies.
    • 25 Metascore
    • 30 Andrew O'Hehir
    You get the feeling that everyone was in a good mood and the margaritas were pouring, but neither Gallo nor anybody else ever found a bottom line for this movie or its characters.
    • 62 Metascore
    • 30 Andrew O'Hehir
    There's so little sexual chemistry between the actors in this film that it seems like a kind of accomplishment. I've seen shows on C-SPAN that were hotter than this.
    • 28 Metascore
    • 20 Andrew O'Hehir
    Seriously, this is one of the strangest and most painful films in recent memory.
    • 49 Metascore
    • 20 Andrew O'Hehir
    The fact that its sound and photography are gracefully crafted, or that fragments of a tolerable film are visible here and there, only makes its dumb-ass, romance-novel version of tragedy worse. This is one of the most badly botched mainstream movies I've seen in years.
    • 30 Metascore
    • 20 Andrew O'Hehir
    Portman and Judd aren't responsible for the mendacious and finally repulsive sentimentality of Where the Heart Is, but by the end their wholesome glow seemed contaminated by it, and that's a shame.
    • 33 Metascore
    • 20 Andrew O'Hehir
    Quickly plunges into boggy terrain from which it can never extricate itself.
    • 49 Metascore
    • 20 Andrew O'Hehir
    That's the culture we live in, where the once-proscribed Pleasure Principle has become iron law and where the recycled, bloated, fish-belly emptiness of something like TRON: Legacy carries boredom to extravagant new heights.
    • 50 Metascore
    • 20 Andrew O'Hehir
    This premise could, just maybe, make for a decent thriller, but everything about Murder by Numbers is so flavorless and rote, so devoid of real suspense and human interest, that you never suspect for a moment that the answers are likely to be engaging.
    • 28 Metascore
    • 20 Andrew O'Hehir
    Pretty much three well-staged action sequences strung together with the dumbest imaginable connective tissue.
    • 33 Metascore
    • 20 Andrew O'Hehir
    Martin Lawrence, no Eddie Murphy, takes a reheated cross-dressing shtick and turns it into something to elate your inner fourth-grader.
    • 40 Metascore
    • 20 Andrew O'Hehir
    A jumble of spare parts and leftover dialogue, as if it had been assembled out of unused bits of every movie where an unknown whatzit threatens our way of life and the government goes into full institutional pants-crapping panic mode.
    • 39 Metascore
    • 20 Andrew O'Hehir
    Dragons torch the earth as manly men with weird hair battle them in this colossally misconceived dud.
    • 36 Metascore
    • 20 Andrew O'Hehir
    It was boring and silly but not atrociously bad. No, that's much too glowing; allow me to back up and rephrase. It is atrociously bad, basically.
    • 40 Metascore
    • 20 Andrew O'Hehir
    If The Cell were six minutes long it would blow your mind. At two hours, it's a disordered muddle of hellacious highs and pedestrian lows.
    • 34 Metascore
    • 20 Andrew O'Hehir
    Cohen had neither the chops nor the clout to prevent Get Hard from ending up, no doubt through the normal process of producer rewrites, focus groups, worried agents and weevil infestations, as a confused and contradictory mess. More to the point, it’s almost never funny, and full of elementary screenwriting blunders.
    • 53 Metascore
    • 20 Andrew O'Hehir
    I've never seen anything crazier than Palindromes. You can read that as praise if you're that sort of person, but I don't mean it that way.
    • 37 Metascore
    • 20 Andrew O'Hehir
    Can someone explain what Nicolas Cage and Nicole Kidman are doing in a chaotic and sadistic home-invasion thriller, shot in digital colors so radioactive they appear to have leaked out of the Fukushima nuclear plant?
    • 24 Metascore
    • 20 Andrew O'Hehir
    Saw 3-D is in 3-D. Really, really bad 3-D.
    • 34 Metascore
    • 20 Andrew O'Hehir
    A Garry Marshall movie has to be funny in order to be anything at all, and this one is so deeply involved with its pseudo-meaningful roundelay of beautiful but inexplicably lovelorn people as to be teeth-grindingly, mind-warpingly boring.
    • 24 Metascore
    • 20 Andrew O'Hehir
    How do you screw up a family movie that has a cute bull mastiff, a cute 6-year-old and David Arquette playing a mailman? Apparently by unleashing half a dozen writers to gnaw it to pieces and entrusting the result to a TV director (John Whitesell of "Cosby" and "Roseanne") with little sense of how to tell a story longer than six minutes.
    • 59 Metascore
    • 20 Andrew O'Hehir
    J. Edgar turns out to be one of the worst ideas anybody's ever had, a mendacious, muddled, sub-mediocre mess that turns some of the most explosive episodes of the 20th century into bad domestic melodrama and refuses to take any clear position on one of American history's most controversial figures.
    • 55 Metascore
    • 20 Andrew O'Hehir
    Disposable crap.
    • 55 Metascore
    • 20 Andrew O'Hehir
    I felt like dropping to my knees in the theater and praying for this smug, irritating fake-reality-TV show to go away, leaving these three terrific actors (and characters) in something resembling a real movie.
    • 28 Metascore
    • 20 Andrew O'Hehir
    One could and perhaps should use scare quotes around "intellectual" when it comes to someone who would crank out a piece of campaign-season partisan hackwork this crude and sloppy. (By this standard, James Carville looks like Immanuel Kant.)
    • 30 Metascore
    • 20 Andrew O'Hehir
    The guys abuse each other in what's meant to be fraternal affection but feels more like the discomfort of being stuck together in a terrible movie.
    • 38 Metascore
    • 10 Andrew O'Hehir
    With Men, Women & Children and the equally laborious “Labor Day,” Reitman has gotten trapped amid the crumbling edifice of Hollywood. It’s turning him old before his time.
    • 27 Metascore
    • 10 Andrew O'Hehir
    Indeed, this movie's offensive on many levels, but Arabs and Muslims don't get to feel special. It relies on stupid stereotypes because it's a stupid movie that's offensive to virtually everyone.
    • 23 Metascore
    • 10 Andrew O'Hehir
    Let's be real clear about this: You've got to be suffering from some major trash-culture brain damage to enjoy a movie like Ready to Rumble.
    • 34 Metascore
    • 10 Andrew O'Hehir
    Startlingly inept from start to finish -- it's atrociously written, poorly shot and edited and fatally unfocused.
    • 24 Metascore
    • 10 Andrew O'Hehir
    This one's a pile of crap that won't start.
    • 27 Metascore
    • 10 Andrew O'Hehir
    The movie is terrible, but made with verve and sincerity, all of it pointed in the wrong direction.
    • 15 Metascore
    • 10 Andrew O'Hehir
    There's nothing scarier than a group of hormone-crazed 20-somethings, but this sequel isn't much more than a footnote of a footnote.
    • 18 Metascore
    • 10 Andrew O'Hehir
    This awkward fable of ghetto redemption mixes painfully earnest message-delivery with occasional scenes of brutal violence.
    • 31 Metascore
    • 10 Andrew O'Hehir
    Gingival surgery would be more fun than watching this brain-draining, spirit-sucking attempt at a stoner spoof, which combines the cutting edge of frat-boy wit, the excitement of a mid-'80s made-for-TV action flick and the authenticity of a Renaissance Faire held in an abandoned field behind a Courtyard by Marriott.
    • 16 Metascore
    • 10 Andrew O'Hehir
    A lugubrious sub-"Exorcist" demonic possession film that's absolutely no fun at all.
    • 14 Metascore
    • 10 Andrew O'Hehir
    This fantasy crap, fake-o effects and all, betrays princes of dice, masters of graph and wielders of bong.
    • 25 Metascore
    • 10 Andrew O'Hehir
    A fourth-rate Hollywood thriller that bungles a lot of thievery from better movies, is entirely bereft of suspense or excitement and features a leading man who absolutely, positively cannot act.
    • 26 Metascore
    • 10 Andrew O'Hehir
    Classic Rudolph: a tone of sweet-edged, slightly kooky melancholy, a terrific cast mostly left to its own devices and a few intriguing moments. Not, I'm sorry to say, a movie.
    • 27 Metascore
    • 10 Andrew O'Hehir
    They kill me, these guys. No, seriously. If they make any more of these movies, they might as well kill me.
    • 11 Metascore
    • 10 Andrew O'Hehir
    A dumb and sloppy movie.
    • 37 Metascore
    • 10 Andrew O'Hehir
    Inside of five minutes I felt an urgent, blinding hatred for almost all its grotesquely overprivileged characters.
    • 26 Metascore
    • 10 Andrew O'Hehir
    The misanthropic nadir of the director's crash-and-burn career.
    • 44 Metascore
    • 10 Andrew O'Hehir
    It's a dumb, ugly and, most of all, painfully unfunny movie.
    • 50 Metascore
    • 0 Andrew O'Hehir
    I have to assume that Russell Crowe and Warner Bros. did not deliberately set out to insult and anger the Armenian diaspora and its friends around the world, or to participate in covering up a monumental 20th-century crime that shaped the world we live in and remains swathed in too much historical shadow. They disgraced themselves by making this movie the way they did, and then redoubled the disgrace by releasing it this week.
    • 14 Metascore
    • 0 Andrew O'Hehir
    Summer's most shameless piece of trash since "Wild Things."
    • 19 Metascore
    • 0 Andrew O'Hehir
    8MM
    Almost as degrading as any unmarked video you can buy in the back alleys of Manila, and, in its pseudo-significance and arty pretension, it's a lot less honest. I'm heartily sorry I had to poison an entire evening with it.
    • 30 Metascore
    • 0 Andrew O'Hehir
    The worst movie of the new millennium.
    • 17 Metascore
    • 0 Andrew O'Hehir
    What's really depressing is that some viewers may be deluded into thinking there's something of substance in "Centipede II," when it's more like a DC Comics version of Pier Paolo Pasolini's notorious "Salò, or The 120 Days of Sodom," with the sweeping condemnation of Western culture stripped out and the mean-spiritedness cranked to 11. If you want to check this out for a stomach-turning giggle, don't let me stop you. But please, let's not pretend it means more than that.
    • 35 Metascore
    • 0 Andrew O'Hehir
    Identity Thief reaches impressive heights of laziness and idiocy.

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