Andrew O'Hehir
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For 1,390 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: 70
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 The In Crowd
Score distribution:
1,390 movie reviews
    • 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.
    • 83 Metascore
    • 100 Andrew O'Hehir
    It's a distinctive, ominous and hypnotic work of cinema.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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."
    • 68 Metascore
    • 100 Andrew O'Hehir
    Mythic, thrilling and brilliantly made motion picture.
    • 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.
    • 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.
    • 91 Metascore
    • 100 Andrew O'Hehir
    An extraordinary accomplishment, a heartbreaking, visually spectacular and largely accessible work from a cinematic master who is more than ready for international attention.
    • 75 Metascore
    • 100 Andrew O'Hehir
    Easy Money may well be the crime film of the year, or the decade.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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
    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.
    • 79 Metascore
    • 100 Andrew O'Hehir
    A movie so rousing, so real and so full of complicated emotions that it all feels brand-new.
    • 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.
    • 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.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Politically provocative and visually spectacular Snowpiercer - the best action film of 2014, and probably the best film, period.

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