Andrew O'Hehir
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For 1,356 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 10 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The White Ribbon
Lowest review score: 0 The In Crowd
Score distribution:
1,356 movie reviews
    • 85 Metascore
    • 100 Andrew O'Hehir
    An Education captures the very limited possibilities for female liberation in early-'60s London -- with massive social change on the distant horizon, but not here yet -- in exquisite detail.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Shot in spectacular black-and-white by cinematographer Christian Berger, and marvelously acted by a first-rate German ensemble, The White Ribbon captures a mood of thickening tension and mounting violence.
    • 97 Metascore
    • 100 Andrew O'Hehir
    Despite their terrible ordeal these women are heroes, not victims. As Mungiu makes clear in the casual, brilliant final scene of this amazing movie, heroes persevere.
    • 81 Metascore
    • 100 Andrew O'Hehir
    It's a classic and even charming yarn of vanity, hubris and redemption, played out against the bizarre, intense alternate universe of '70s English soccer.
    • 56 Metascore
    • 100 Andrew O'Hehir
    A terrific comic-book movie, the most completely satisfying and unsettling one I've ever seen.
    • 84 Metascore
    • 100 Andrew O'Hehir
    What's so remarkable about Louie Psihoyos' documentary The Cove isn't just that it's a powerful work of agitprop that's going to have you sending furious e-mails to the Japanese Embassy on your way out of the theater. That's definitely true, but the effectiveness of The Cove also comes from its explosive cinematic craft, its surprising good humor and its pure excitement.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Hunger is a mesmerizing 96 minutes of cinema, one of the truly extraordinary filmmaking debuts of recent years. It's also an uneasy, unsettling experience and is meant to be.
    • 73 Metascore
    • 100 Andrew O'Hehir
    A brilliant and gruesome work of cinematic invention as well as a passionate and painful human love story.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Austrian director Spielmann has long awaited discovery by a wider world, and for my money the gorgeous, brooding, unpredictable neo-noir Revanche is one of the year's best films.
    • 71 Metascore
    • 100 Andrew O'Hehir
    Bronson owes a little or a lot to Kubrick's "Clockwork Orange," but if that's a crime I wish more people would commit it.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Hirschbiegel and Eichinger, along with their large, brave and talented cast, have done something extraordinary for their generation of Germans, and for the world. They have willfully entered their grandparents' dirtiest, clammiest chamber of secrets.
    • 84 Metascore
    • 100 Andrew O'Hehir
    With all his artifice, his prodigious narrative risks and seemingly undisciplined mélange of styles and tones, Desplechin has made a film that feels more like real life than anything I've seen in years, from any source. It's a masterpiece.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest of all Holocaust films.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest films of recent years.
    • 67 Metascore
    • 100 Andrew O'Hehir
    It's terrific! Shot by the brilliant cinematographer Anthony Dod Mantle ("Dogville," "28 Days Later," etc.) and anchored by amazing performances from identical (but not conjoined) twins Harry and Luke Treadaway, Brothers of the Head is not a freak show, or a knockoff "Rocky Horror" camp celebration. It's a work of powerful atmosphere and significant mystery. Plus, it rocks.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Old Joy is only 76 minutes long, but it has the contemplative power of Buddhist meditation. Reichardt gives us long, stoned takes of rural roads; shots of birds, insects and slugs in the spectacular Oregon rain forest; interludes with Mark's dog, Lucy. Some viewers may well be bored, or monumentally irritated, by this. I found it masterly, riveting.
    • 84 Metascore
    • 100 Andrew O'Hehir
    The latest riveting, heartbreaking chapter to one of the supreme creations of documentary filmmaking, the "7 Up" series.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Requiem, the new film from German director Hans-Christian Schmid, is absolutely astonishing. See it if you possibly can.
    • 79 Metascore
    • 100 Andrew O'Hehir
    Manufactured Landscapes may tell you more about how the 21st century world actually works than you really want to know, but it's a heartbreaking, beautiful, awful and awesome film.
    • 86 Metascore
    • 100 Andrew O'Hehir
    One of the year's best movies...It's one of the simplest and best re-creations of downscale urban England during the gritty post-punk years ever put on screen, and it's both upsetting and very funny.
    • 79 Metascore
    • 100 Andrew O'Hehir
    The most powerful documentary I've seen all year, and one of the two or three best films ever made about an artist or musician.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Chang's images of the Yangtze and the new megacities replacing the villages on its banks are spectacular, and his cast of characters rival any fiction film I've seen recently.
    • 83 Metascore
    • 100 Andrew O'Hehir
    If possible, Roberts' movie-within-a-movie is even more amazing than it sounds. She captures a tale of courage, heroism and tragedy more thrilling than any Hollywood spectacle.
    • 90 Metascore
    • 100 Andrew O'Hehir
    It's a highly original film made in a familiar context, and an exciting moviegoing experience you shouldn't miss.
    • 79 Metascore
    • 100 Andrew O'Hehir
    Its combination of dazzling cinematic craft, psychological insight and black humor make this one of the year's moviegoing musts -- and even or especially at her most deranged, Kim Hye-ja's amazing mother is profoundly, passionately human.
    • 86 Metascore
    • 100 Andrew O'Hehir
    But the greatness of Chinatown, unappreciated by my adolescent self, lies not in its cynical view of the California dream (that's too easy) but in its fatalistic, even tragic conception of America and indeed of human nature.
    • 78 Metascore
    • 100 Andrew O'Hehir
    The grandest and most vigorous movie he's (Frears) made in at least a decade. Like Okwe himself, it rises above its limitations, and it's just a little bit bigger than the landscape around it.
    • 78 Metascore
    • 100 Andrew O'Hehir
    The most disturbing and effective thriller I've seen in many moons. Rarely, indeed almost never, is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite, unfakable sense of cinema.
    • 83 Metascore
    • 100 Andrew O'Hehir
    I recognize how few horror movies I've seen before or since that ever manage to capture such a tangible feeling of menace.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Elegant but never overstated, sinister but never coldhearted, this is a note-perfect masterwork on a modest, human scale.
    • 84 Metascore
    • 100 Andrew O'Hehir
    A marvelous ensemble cast and all the visceral impact and moment-to-moment tension of a fine thriller, together with the distinctive visual style of an art film.
    • 84 Metascore
    • 100 Andrew O'Hehir
    A movie for hardcore film geeks and regular folk alike, a stunning, and stunningly improbable, fusion of postmodern pastiche and old-school Hollywood melodrama. It's both a marvelous technical accomplishment and a tragic love story that sweeps you off your feet.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Ten
    The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
    • 81 Metascore
    • 100 Andrew O'Hehir
    Meryl Streep, Nicole Kidman and Julianne Moore bring dignity and Oscar-worthy performances to The Hours, a lovingly crafted meditation on death, loss and literature.
    • 79 Metascore
    • 100 Andrew O'Hehir
    An extraordinary and original creation. It belongs alongside "Amores Perros" and "Memento" on a shortlist of 2001's most exciting revelations.
    • 86 Metascore
    • 100 Andrew O'Hehir
    A work of loopy, original comic genius.
    • 76 Metascore
    • 100 Andrew O'Hehir
    One of the most extraordinary accomplishments in recent American nonfiction filmmaking. It hits hard as to facts, and opens its eyes to inexpressible mysteries. It strikes a clear moral and philosophical stance, and then -- as part of that philosophical stance, actually -- reveals its villain as a tragic and sympathetic figure.
    • 90 Metascore
    • 100 Andrew O'Hehir
    This movie's an absolute knockout. I know it's only June, but I'm damned if this isn't the breakthrough American film of the year.
    • 92 Metascore
    • 100 Andrew O'Hehir
    A bona fide summer delight loaded with action, humor, nostalgia, a veritable blizzard of pop-culture references and general good vibes.
    • 83 Metascore
    • 100 Andrew O'Hehir
    It's a distinctive, ominous and hypnotic work of cinema.
    • 85 Metascore
    • 100 Andrew O'Hehir
    A terrifying, absorbing 93 minutes spent in hell. It captures the intensity of warfare in a visceral fashion that recalls Stanley Kubrick's "Full Metal Jacket" and Oliver Stone's "Platoon."
    • 67 Metascore
    • 100 Andrew O'Hehir
    A fascinating, mature, beautifully crafted work of art, from a director who continues to surprise us. Sofia Coppola has absorbed the Italian avant-garde more completely than her father ever did, and has made a film about celebrity in the vein of Antonioni and Bertolucci, a film about Hollywood in which she turns her back on it, possibly forever.
    • 88 Metascore
    • 100 Andrew O'Hehir
    It might well be the most important film you see this year, and the most important documentary of this young century.
    • 79 Metascore
    • 100 Andrew O'Hehir
    One of the best movies of the year.
    • 94 Metascore
    • 100 Andrew O'Hehir
    It's a tremendously absorbing blend of history, journalism and drama. As soon as it was over, I wanted to watch it again.
    • 79 Metascore
    • 100 Andrew O'Hehir
    A movie so rousing, so real and so full of complicated emotions that it all feels brand-new.
    • 68 Metascore
    • 100 Andrew O'Hehir
    A pitch-perfect blend of darkness and sweetness, built around a masterful performance by a great actor.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Visually spectacular, with wide-screen cinematography from Nobuyasu Kita, impressive, full-scale sets and special effects and exhausting, immersive action scenes, 13 Assassins is pretty nearly the samurai classic it sets out to become.
    • 73 Metascore
    • 100 Andrew O'Hehir
    The most exciting action flick of the year, by a huge margin.
    • 86 Metascore
    • 100 Andrew O'Hehir
    What he (Beauvois) conveys, through austere but spectacular visual language, magnificent liturgical singing and an ensemble cast headed by the terrific French veteran actors Lambert Wilson and Michael Lonsdale, is something of the "why."
    • 76 Metascore
    • 100 Andrew O'Hehir
    It's a handsome and stimulating film, noteworthy more for its terrific acting and provocative ideas than for any kind of dark Cronenbergundian genius.
    • 83 Metascore
    • 100 Andrew O'Hehir
    Instead of sticking with the familiar, Scorsese has followed his impulses into something that feels entirely new but is still distinctively his. He has made a potential holiday classic, an exciting, comic and sentimental melodrama that will satisfy children and adults alike and reward repeat viewings for many years to come.
    • 80 Metascore
    • 100 Andrew O'Hehir
    A ravishing, emotional and often very funny film about a wedding gone wrong, the end of the world and a woman suffering from profound depression.
    • 79 Metascore
    • 100 Andrew O'Hehir
    Fiennes' crackerjack Coriolanus stays true to the clever, almost mean-spirited twists and turns of the story, and preserves the authentic flavor and texture of the language.
    • 76 Metascore
    • 100 Andrew O'Hehir
    Jane Eyre is a passionate, impossible love story, one of the most romantic ever told. But it's also a cold, wild story about destruction, madness and loss, and this movie captures its divided spirit like none before.
    • 85 Metascore
    • 100 Andrew O'Hehir
    In this quiet, beautiful and terrifying fable about a group of lost pioneers, Reichardt combines epic ambition with a focus on intimate, personal detail.
    • 86 Metascore
    • 100 Andrew O'Hehir
    My first thought was: It's a temple, a church, a cathedral -- maybe the first one ever built -- and the better-known ones in Rome and Jerusalem and Istanbul are just later versions of the same thing.
    • 78 Metascore
    • 100 Andrew O'Hehir
    If The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen. It's an unfriendly masterpiece that shows you only a little circle of daylight, way up there at the top of our collective prison shaft - but a masterpiece nonetheless.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Rapturous and hilarious.
    • 72 Metascore
    • 100 Andrew O'Hehir
    It's a brilliant work of cinema, a nonfiction film as intense and visceral as any drama, and an emotional and moral experience that feels horrifying and exhilarating at almost the same moment.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
    • 75 Metascore
    • 100 Andrew O'Hehir
    If it plays in any theaters beyond New York and Los Angeles, that'll probably come as a surprise to its distributor (the estimable Lorber Films). None of that diminishes the power and intensity of this claustrophobic mini-masterpiece of the Japanese antiwar tradition, which blends a B-movie aesthetic, brilliant use of montage and documentary elements and a scathing critique of nationalism and militarism.
    • 81 Metascore
    • 100 Andrew O'Hehir
    More broadly this is a resonant, vivid and finally heartbreaking tale about the universal difficulty of marriage and the endless self-delusion of the human condition, driven by a trio of amazing dramatic performances.
    • 86 Metascore
    • 100 Andrew O'Hehir
    A stereotype-shattering movie that's full of them, and one that may permanently change the way you think about violent crime in America.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Once you start to ride with the rapturous, gorgeous, digressive symphony of images and words and music in this film it's completely absorbing and unlike anything you've ever seen.
    • 95 Metascore
    • 100 Andrew O'Hehir
    Something close to a contemporary masterwork, and maybe the best foreign-language film of the year, right at the tail end.
    • 72 Metascore
    • 100 Andrew O'Hehir
    It's first and foremost a visual and sonic symphony, and a Dante-esque journey through a New York nightworld where words are mostly useless or worse.
    • 92 Metascore
    • 100 Andrew O'Hehir
    For my money, the 33-year-old Isaac – who was born in Guatemala, raised in Florida, and has been working his way toward stardom for years – gives the year’s breakout performance, and Inside Llewyn Davis is one of the Coens’ richest, strangest and most potent films.
    • 97 Metascore
    • 100 Andrew O'Hehir
    12 Years a Slave offers no false Hollywood catharsis along with its muted happy ending, because we’re not free from the curse of slavery yet. Looking at it, as it really was, is a start.
    • 83 Metascore
    • 100 Andrew O'Hehir
    You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
    • 95 Metascore
    • 100 Andrew O'Hehir
    A sweeping and magnificent work of cinematic craft, by far the best film of Bigelow's career.
    • 75 Metascore
    • 100 Andrew O'Hehir
    Easy Money may well be the crime film of the year, or the decade.
    • 90 Metascore
    • 100 Andrew O'Hehir
    Any way you slice it, it's a brave and brilliant act of defiance.
    • 68 Metascore
    • 100 Andrew O'Hehir
    Mythic, thrilling and brilliantly made motion picture.
    • 75 Metascore
    • 100 Andrew O'Hehir
    This is an elegant, powerfully emotional and courageous film, worth seeing entirely on its own artistic terms, and also for what it conveys about the complexity of African-American life and the resurgence of African-American cultural expression.
    • 87 Metascore
    • 100 Andrew O'Hehir
    A breakthrough movie after its own fashion, a mysterious existential thriller that's brilliantly acted and masterfully directed, without a second of wasted screen time.
    • 55 Metascore
    • 100 Andrew O'Hehir
    Its too-muchness is also the source of its power; I was absolutely never bored, and felt surprised when the movie ended. It's an amazing, baffling, thrilling and (for many, it would appear) irritating experience, and for my money the most beautiful and distinctive big-screen vision of the year.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Whatever moment of inspiration caused Spielberg to cast her (Sally Field) as Mary Todd Lincoln, it was sheer genius, because this is a role that demands bigness.
    • 57 Metascore
    • 100 Andrew O'Hehir
    The Equalizer is gripping, mysterious and even sometimes moving, but it’s never pleasant, still less fun. If you decide to go, don’t claim you weren’t warned. If you skip it, you’re missing one of the year’s signal works of superior Hollywood craftsmanship.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Whatever sense you make (or don't) of the spectacular, hallucinatory Holy Motors, it's the coolest and strangest movie of the year, and once it gets its druglike hooks in your brain, you'll never get them out again.
    • 73 Metascore
    • 100 Andrew O'Hehir
    One of the year's best films precisely because it can't be boiled down to a message or synopsis. It's an exercise in style that risks trashiness in search of transcendence, and it's a sizzling celebration of the power of music, the power of images, and the electric, destructive power of the human body.
    • 94 Metascore
    • 100 Andrew O'Hehir
    This is an unforgettable love story set at the close of day, as tragic and beautiful in its way as "Tristan und Isolde," and a portrait of the impossible beauty and fragility of life that will yield new experiences to every viewer and every viewing.
    • 78 Metascore
    • 100 Andrew O'Hehir
    If you have the patience to watch this film develop and unfold, like some bizarre night-blooming orchid, what you'll see is not just the last movie released in 2012, but possibly the most original of them all.
    • 80 Metascore
    • 100 Andrew O'Hehir
    Sweetgrass memorably captures a dying way of American life, a marvelously untrammeled American landscape and at least two animals — men and sheep — that despite their millennia-long domestic relationship still have a spark of wildness in them.
    • 75 Metascore
    • 100 Andrew O'Hehir
    This telling of the tale possesses enormous cinematic energy and a killer supporting cast full of hilarious delights.
    • 91 Metascore
    • 100 Andrew O'Hehir
    Sarah Polley’s Stories We Tell is two or maybe three dangerous kinds of movies all at the same time, and handled so brilliantly that the result is a transformative, unforgettable work of art.
    • 74 Metascore
    • 100 Andrew O'Hehir
    Visually ravishing, tonally commanding and built around magnetic performances by Rooney Mara and Casey Affleck as Bonnie-and-Clyde doomed lovers, Ain’t Them Bodies Saints is a tragic but not despairing tale of fatal romance set in the Texas hill country in the mid-1970s. It marks the arrival of an immense talent who will be new to most moviegoers – although Lowery is a well-known figure in the indie-film world – and it’s surely one of the best American films of the year.
    • 90 Metascore
    • 100 Andrew O'Hehir
    A work of tremendous confidence and dazzling showmanship that may just be a delirious movie-as-drug-high or may, if you choose to read it this way, contain a level of commentary about the nature of America and the illusioneering of Hollywood.
    • 69 Metascore
    • 100 Andrew O'Hehir
    I also understood that while this movie is deliberately constructed so that almost nobody will “get it” or like it – and I’m not sure how I feel about that perversity – it’s a masterpiece despite that, or because of that or just anyway.
    • 83 Metascore
    • 100 Andrew O'Hehir
    It’s so assured and accomplished, so rigorous on both a human and technical level, and so clearly driven by love for this harsh landscape and its hardened people, that I was entirely swept away by its characters and their story.
    • 88 Metascore
    • 100 Andrew O'Hehir
    It’s perhaps the first great love story of the 21st century that could belong only to this century.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Despite its clichéd elements, Dallas Buyers Club is a fierce celebration of the unpredictable power that belongs to the outcast, the despised, the pariah. That’s not a story of the ‘80s, it’s a story of always.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Politically provocative and visually spectacular Snowpiercer - the best action film of 2014, and probably the best film, period.
    • 78 Metascore
    • 100 Andrew O'Hehir
    This stark and intensely controlled film is the work of a powerful visual stylist and storyteller, one who looks like he belongs on the short list of directors who have carried the narrative methods of the silent era deep into modern cinema.
    • 77 Metascore
    • 100 Andrew O'Hehir
    It’s a brilliant, slow-burning American revenge thriller that hardly puts a foot wrong, a work of startling violence and profound conscience that announces the arrival of an exciting young director.
    • 100 Metascore
    • 100 Andrew O'Hehir
    In its own quiet way, it’s a world of marvels.
    • 68 Metascore
    • 100 Andrew O'Hehir
    Jones, as always, knows what he’s doing. In only his second feature as a director, the laconic 68-year-old star has made a wrenching, relentless and anti-heroic western that stands among the year’s most powerful American films. Not everyone will like The Homesman, but if you see it you won’t soon forget it.
    • 83 Metascore
    • 100 Andrew O'Hehir
    You need to give Love Is Strange your eyes and ears and attention, let it work its effects on you gradually, like the lovely Chopin piano music that forms the spine of its soundtrack.
    • 80 Metascore
    • 100 Andrew O'Hehir
    A strange and gorgeous and haunting film that brings the indie aesthetic of the mid-1980s into a context that feels both timeless and highly contemporary.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Winter Sleep belongs alongside “Boyhood” and “Inherent Vice” on the short list of the most powerful films of 2014. Calling a film “good” or “important” is subjective, of course, but this isn’t: All three are reaching for the kind of cinematic transcendence that exceeds language, that weaves together various art forms into an ascending spiral of meaning that cannot finally be captured or defined.

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