Andrew O'Hehir
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For 1,336 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 9.9 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Coriolanus
Lowest review score: 0 The In Crowd
Score distribution:
1,336 movie reviews
    • 100 Metascore
    • 100 Andrew O'Hehir
    In its own quiet way, it’s a world of marvels.
    • 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.
    • 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.
    • 96 Metascore
    • 90 Andrew O'Hehir
    While the tension never lets up for a second, how you respond to the boundary-fudging and wildly improbable ending of Gravity – meaning both how it makes you feel and how you interpret it – will determine whether you think the movie is a genuine pop masterpiece or a canny artifice. Maybe there’s no difference.
    • 95 Metascore
    • 90 Andrew O'Hehir
    All I can say about Timberlake's performance as the thoroughly odious, desperately seductive, textbook-case metrosexual Parker is that he brings so much reptilian fun that he unbalances the movie, almost fatally.
    • 95 Metascore
    • 100 Andrew O'Hehir
    A sweeping and magnificent work of cinematic craft, by far the best film of Bigelow's career.
    • 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.
    • 94 Metascore
    • 80 Andrew O'Hehir
    It will disturb you as much as thrill you, make you wonder whether the boundaries between life and death, reality and fantasy, imagination and insanity are ever what they appear to be.
    • 94 Metascore
    • 80 Andrew O'Hehir
    In all honesty, Burnett's writing can be stiff and the acting in Killer of Sheep is indifferent. But the reason to see this film does not lie in the dialogue.
    • 94 Metascore
    • 90 Andrew O'Hehir
    I love Jackson's "Rings" saga despite his propensity for whimsical animation whenever he tries to strike a chord of dread or menace.
    • 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.
    • 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.
    • 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.
    • 92 Metascore
    • 90 Andrew O'Hehir
    A tightly structured thriller with a brilliantly moody performance by Jeanne Moreau, and depending on your point of view, it's either one of the few genuine French noir films or an early entry in the New Wave.
    • 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.
    • 91 Metascore
    • 90 Andrew O'Hehir
    It's a difficult film to follow and at 172 minutes is maybe a half-hour too long. But simply as a sensory experience The Fast Runner is amazing.
    • 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.
    • 91 Metascore
    • 90 Andrew O'Hehir
    The results, in my judgment, are stunning...and at certain moments during the film I wondered whether I had myself fallen asleep and was dreaming its hellish, haunted images.
    • 91 Metascore
    • 90 Andrew O'Hehir
    It's the most ambitious and impressive Coen film in at least a decade, featuring the flat, sun-blasted landscapes of west Texas -- spectacularly shot by cinematographer Roger Deakins -- and an eerily memorable performance by Javier Bardem, in a Ringo Starr haircut.
    • 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.
    • 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.
    • 90 Metascore
    • 90 Andrew O'Hehir
    Her
    This is a handcrafted, passionate and sometimes impossibly beautiful film that argues for both the past and the future, with a poetic spirit that’s extremely rare in American cinema.
    • 90 Metascore
    • 100 Andrew O'Hehir
    Any way you slice it, it's a brave and brilliant act of defiance.
    • 90 Metascore
    • 80 Andrew O'Hehir
    It's a gleeful, nitrous-oxide high.
    • 90 Metascore
    • 90 Andrew O'Hehir
    The Overnighters is a documentary about real people in a real place. This is both amazing and frustrating.
    • 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.
    • 90 Metascore
    • 80 Andrew O'Hehir
    In casting Jack Nicholson as the jaded Anglo-American journalist who abandons his previous life during a trip to Africa and adopts a dangerous new identity, Antonioni was working with a more powerful and charismatic actor than he has before or since. The result is something like a glamorous thriller or a disaster film in slow motion.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Speaking as one New Yorker who lived through 9/11 and saw this film with a packed house of natives at its Tribeca Film Festival premiere, I experienced Man on Wire as an almost mystical incantation.
    • 89 Metascore
    • 80 Andrew O'Hehir
    From the first frames of Charles Ferguson's No End in Sight, replaying some of the oddest and twitchiest podium performances of Donald Rumsfeld during those heady days of spring 2003, you may feel the crushing weight of an almost Sophoclean impending doom.
    • 89 Metascore
    • 90 Andrew O'Hehir
    Citizenfour is both an urgent tale torn from recent headlines and a compelling work of cinema, with all the paranoid density and abrupt changes of scenery of a John le Carré novel.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Most of the movie's subterranean emotion is found in the unsettled relationship between Solo and William, and in the extraordinary performances by the two leading men.
    • 89 Metascore
    • 90 Andrew O'Hehir
    Stop Making Sense is so beautifully choreographed that in some ways it's more like theater than a rock show. [Review of re-release]
    • 89 Metascore
    • 90 Andrew O'Hehir
    Ida
    What makes Ida remarkable is how much Pawlikowski is able to accomplish in just 80 minutes, with a pair of mismatched female characters, a handful of wintry and desolate locations, the square-format cinematography of Ryszard Lenczewski and Lukasz Zal, and a soundtrack that combines modernism, Soviet-bloc pop music and a haunting performance of John Coltrane’s “Naima” that seems to capture all the emotional possibilities the characters cannot express.
    • 89 Metascore
    • 90 Andrew O'Hehir
    In the long and fraught history of Franco-American cultural relations, this movie is more than a peace offering; it's a loving, goofy, joyous French kiss.
    • 88 Metascore
    • 90 Andrew O'Hehir
    Offers an exquisite tour of the twilight zone between high school and the so-called real world, as well as between bohemian subculture and the even stranger culture of America at large.
    • 88 Metascore
    • 90 Andrew O'Hehir
    What makes Tulpan remarkable are the extended unbroken scenes, both dramatic and comic.
    • 88 Metascore
    • 90 Andrew O'Hehir
    The first Holocaust movie that's actually about another Holocaust movie, and in some peculiar way it brings us closer to the terror and tragedy of the original event.
    • 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.
    • 88 Metascore
    • 80 Andrew O'Hehir
    Polley captures the brisk, cheerful fascism of nursing-home existence with merciless clarity; if you've visited a parent or grandparent in one of those places, you may want to laugh and cry in the same moment.
    • 88 Metascore
    • 90 Andrew O'Hehir
    This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
    • 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.
    • 88 Metascore
    • 90 Andrew O'Hehir
    It's a warm, richly funny and highly enjoyable human story that takes an intriguing sideways glance at a crucial period in 20th-century history.
    • 88 Metascore
    • 90 Andrew O'Hehir
    This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss.
    • 88 Metascore
    • 90 Andrew O'Hehir
    It's simultaneously terrifying and hilarious, a full-on shotgun blast to the face of rediscovered 1970s weirdness, something like finding out that there's a classic Peckinpah film you've never seen, or that Wes Craven and Bernardo Bertolucci got drunk in Sydney one weekend and decided to make a movie together.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest films of recent years.
    • 87 Metascore
    • 90 Andrew O'Hehir
    This film never feels like copycat Americana to me. Its vision of the bleak, ruined, urban-cum-rural landscape of Naples and environs is distinctively European and postmodern, redolent of the spiritual and physical desolation Antonioni captured so memorably in "Red Desert."
    • 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.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest of all Holocaust films.
    • 87 Metascore
    • 70 Andrew O'Hehir
    So ends this enormously important, and enormously extended, chapter of pop culture, with a combination of bang and whimper.
    • 87 Metascore
    • 70 Andrew O'Hehir
    Has a lot of integrity, both in visual and conceptual terms, and seamlessly blends entertainment and education.
    • 87 Metascore
    • 80 Andrew O'Hehir
    Herzog wants us to see a deluded nobility in this quest. Treadwell's flawed dreams were, in the end, all too human.
    • 87 Metascore
    • 80 Andrew O'Hehir
    A richly detailed and enjoyable American yarn.
    • 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.
    • 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.
    • 86 Metascore
    • 90 Andrew O'Hehir
    It's a fascinating film, full of drama, intrigue, tragedy and righteous indignation, but maybe its greatest accomplishment is to make you feel the death of one young man -- a truly independent thinker who hewed his own way through the world, in the finest American tradition -- as a great loss.
    • 86 Metascore
    • 90 Andrew O'Hehir
    It’s a career-capping performance by Dern, who is so convincing as an addled, drunken, embittered and probably dying man that he doesn’t appear to be acting, but Forte is just as good playing a preoccupied, emotionally constricted man-child.
    • 86 Metascore
    • 80 Andrew O'Hehir
    The real star of the film is not a person but a city, the vertiginous, exciting, massively overcrowded "maximum city" of Mumbai. On one hand, this environment of Dickensian, almost hallucinatory contrasts between rich and poor, good and evil feels perfect for Danny Boyle.
    • 86 Metascore
    • 100 Andrew O'Hehir
    A work of loopy, original comic genius.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
    • 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.
    • 86 Metascore
    • 90 Andrew O'Hehir
    For all its flaws, In the Bedroom is an unusual accomplishment, a serious drama about violence and morality that plays out with a fatalistic intensity somewhere between Greek tragedy and film noir.
    • 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.
    • 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.
    • 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."
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Great Beauty is an ironic and passionate near-masterwork, like a nine-course dessert that makes you entirely forget the meal.
    • 86 Metascore
    • 90 Andrew O'Hehir
    To Ben Affleck's credit, he's made a terrific, pulse-elevating thriller that will leave the audience cheering.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Master is often spectacular and never less than handsome, and it has numerous moments of disturbing and almost electrical power. I can't say, after one viewing, that I found it moving or satisfying as a whole, but I'm also not sure it's supposed to be. This is an almost apocalyptic tale of thwarted emotion - love cut short - set in a pitiless land of delusions.
    • 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.
    • 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.
    • 86 Metascore
    • 60 Andrew O'Hehir
    It remains a puzzling dream, vivid in detail and overly obvious in symbolism, fueled by half-digested lumps of malice and wonder.
    • 86 Metascore
    • 80 Andrew O'Hehir
    Disturbing and extraordinary new documentary.
    • 86 Metascore
    • 90 Andrew O'Hehir
    Burns has accomplished something both remarkable and reassuring. Remarkable because this is a compelling film, blending astonishing historical images with long-winded talking-head interviews, in vintage Burnsian style, and reassuring for almost the same reason.
    • 86 Metascore
    • 80 Andrew O'Hehir
    The point of watching the film, and the only reason to see it, is the experience of watching it, which sounds tautological or something, but is just true. It's a powerful visual and sonic creation with unforgettable characters, set in a heartache-inducing imaginary vision of American community, worlds away from hyper-technologized urban existence.
    • 86 Metascore
    • 90 Andrew O'Hehir
    It's both happy and sad. That's exactly the way to describe Hou's marvelous film as well.
    • 85 Metascore
    • 70 Andrew O'Hehir
    A subtle and often surprising study of the relationship between damaged adult siblings, full of mordant humor and dramatic invention.
    • 85 Metascore
    • 90 Andrew O'Hehir
    What makes the movie memorable is the precision of its tone, its finely calibrated combination of bitterness and warmth. Of course the acting is tremendous, and you'd expect nothing less.
    • 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."
    • 85 Metascore
    • 80 Andrew O'Hehir
    The British street artist's hilarious documentary is a head-spinning, wild ride.
    • 85 Metascore
    • 70 Andrew O'Hehir
    There's a commitment to half-improvised, ground-level realism that lends the picture news value and an obvious urgency.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Although Turtles Can Fly is a lyrical, often lovely film with touches of humor, it's also a remorseless tragedy that doesn't offer its child protagonists any false redemption.
    • 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.
    • 85 Metascore
    • 90 Andrew O'Hehir
    What contemporary relevance you may find in Alfredson's chilly, marvelously acted and gorgeously composed new film of Tinker Tailor Soldier Spy - is a highly individual question.
    • 85 Metascore
    • 80 Andrew O'Hehir
    It's a complex and defiant fable of American life run just slightly off the rails, delivering all the impact of "Crash" without the phony-baloney paradoxes or brick-in-the-face message delivery.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Well, if you care about movies, I'm telling you to carve out time for Vincere, a strange and powerful blend of historical fact and dreamlike imagination that captures both the charisma and the murderous madness of the young Benito Mussolini.
    • 85 Metascore
    • 90 Andrew O'Hehir
    It's an electrifying, suspenseful film, full of street-level political drama.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Force Majeure is a prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere. This is very much a work of 21st-century global culture, but also one that draws on the great cinematic tradition of northern Europe, with hints of Ingmar Bergman, Eric Rohmer and Michael Haneke.
    • 85 Metascore
    • 90 Andrew O'Hehir
    A terrifically crafted little movie that bounces off current events and the nation's downbeat mood ingeniously, and that it variously suggests comparisons with the early work of Terrence Malick, Stanley Kubrick and the Coen brothers. Yeah, I think it's that good, but please note that I also said "little."
    • 85 Metascore
    • 80 Andrew O'Hehir
    Fascinating quasi-documentary about Norma Khouri.
    • 85 Metascore
    • 80 Andrew O'Hehir
    A thrilling ride and a sometimes dry, sometimes sweet comedy, but beneath all that is a humane and tragic view of life worthy of the greatest films. Even those without rubber monsters.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Junger and Hetherington take our conflicted ideas about war and its let's-make-a-man-out-of-you purpose and throw them in our faces, in a way "Hurt Locker" never does.
    • 85 Metascore
    • 90 Andrew O'Hehir
    The Tree of Life is pretty much nuts overall, a manic hybrid folly with flashes of brilliance. But even if that's true it's a noble crazy, a miraculous William Butler Yeats kind of crazy, alive with passion for art and the world, for all that is lost and not lost and still to come.
    • 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.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Fruitvale Station is a document of irreparable grief and paradoxical hopefulness; it launches the careers of two immensely talented young African-American artists and offers the possibility that Oscar Grant’s life, while it was much too short and ended so dreadfully, served a higher purpose in the long arc of history.
    • 84 Metascore
    • 80 Andrew O'Hehir
    The Waiting Room is a source of both inspiration and hope. The system may be broken, but the people are not.
    • 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.
    • 84 Metascore
    • 90 Andrew O'Hehir
    May well be the most exciting documentary of the year so far. I guess it took a British director, David Sington, to capture the story of the dozen American men who walked on the moon -- the only human beings in our species history yet to visit another celestial body.
    • 84 Metascore
    • 80 Andrew O'Hehir
    Like all poetic inward journeys, My Winnipeg is likely to resonate with sympathetic viewers in unexpected ways. In viewing his apparently placid prairie city, and his apparently placid prairie childhood, as an intensely symbolic landscape of mystery and terror, Maddin invites all of us to view our own equally ordinary lives in the same light.
    • 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.
    • 84 Metascore
    • 90 Andrew O'Hehir
    Extraordinary.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Rapturous and hilarious.