For 1,270 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 10.1 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
Average review score: 69
Highest review score: 100 Pina
Lowest review score: 0 Identity Thief
Score distribution:
1,270 movie reviews
    • 31 Metascore
    • 30 Andrew O'Hehir
    Ludicrous trash, but it has style.
    • 33 Metascore
    • 30 Andrew O'Hehir
    Familiar and profoundly unoriginal.
    • 60 Metascore
    • 30 Andrew O'Hehir
    Edward Norton's dopey directorial debut gives interfaith romance a bad name.
    • 39 Metascore
    • 30 Andrew O'Hehir
    Doesn't work at any level, but the total lack of chemistry between its central couple is fatal.
    • 52 Metascore
    • 30 Andrew O'Hehir
    A pallid, mediocre tale that treacles its way through well-worn channels.
    • 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.
    • 43 Metascore
    • 30 Andrew O'Hehir
    A dreary, humorless affair, with no real feeling for the rhythms of either baseball or love.
    • 47 Metascore
    • 30 Andrew O'Hehir
    Stupid, empty and -- worst of all -- fantastically boring.
    • 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.
    • 36 Metascore
    • 30 Andrew O'Hehir
    Between the 12th floor and the 14th floor, boredom awaits!
    • 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.
    • 21 Metascore
    • 30 Andrew O'Hehir
    This is a movie full of now-you-see-it, now-you-don't plot points.
    • 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.
    • 59 Metascore
    • 30 Andrew O'Hehir
    This might be the edgiest film of the year -- if the year were 1982.
    • 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.
    • 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!
    • 21 Metascore
    • 30 Andrew O'Hehir
    Pretty much everything in this high-space war yarn has been swiped from other, better movies.
    • 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.
    • 56 Metascore
    • 30 Andrew O'Hehir
    A movie that's laughable without, alas, even being enjoyably awful.
    • 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.
    • 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.
    • 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.
    • 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?
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.