Andrew O'Hehir

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For 1,422 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 9.6 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Bronson
Lowest review score: 0 The Water Diviner
Score distribution:
1,422 movie reviews
    • 69 Metascore
    • 40 Andrew O'Hehir
    Mamet's trademark artificial, mutual-incomprehension dialogue and con-game plotting are ineptly matched to the action genre (and feel stale in any case), while the jiu-jitsu scenes are so incoherently shot and edited you can't tell if the fight choreography is any good or not.
    • 50 Metascore
    • 40 Andrew O'Hehir
    Robert De Niro and Frances McDormand almost rescue this lifeless, clichéd cop drama! Close isn't good enough!
    • 41 Metascore
    • 40 Andrew O'Hehir
    The doggie in Darling Companion is a big, warm bundle of puppy love; his owners are lost forever in a big chill.
    • 36 Metascore
    • 40 Andrew O'Hehir
    An awkward and distinctly unsexy farcical misfire.
    • 69 Metascore
    • 40 Andrew O'Hehir
    What I see in The Avengers, unfortunately, is a diminished film despite its huge scale, and kind of a bore.
    • 74 Metascore
    • 40 Andrew O'Hehir
    For the most part "Inception" is a handsome, clever and grindingly self-serious boy-movie, shorn of imagination, libido, spirituality or emotional depth. Nolan establishes a fascinating world, loaded with trapdoors, symbols and hidden secrets, and then squanders the opportunity on an overpriced "Twilight Zone" episode.
    • 74 Metascore
    • 40 Andrew O'Hehir
    Given the debased standards of action cinema these days this might be enough to make The Town a hit. But almost everything else about the movie is badly off balance, starting with Affleck's decision to cast himself as the implacably sexy and good-hearted Doug.
    • 40 Metascore
    • 40 Andrew O'Hehir
    Proceeds at such an amiable pace and features enough creepy-crawly effects that many viewers won't quite notice or care how rickety and second-rate it is.
    • 67 Metascore
    • 40 Andrew O'Hehir
    The Hunger Games has some cool moments here and there, and is never entirely dreadful. Lawrence is both radiant and triumphant. They haven't screwed it up badly enough to kill it, although they've tried.
    • 34 Metascore
    • 40 Andrew O'Hehir
    A dispiriting and thoroughly ineffective romantic comedy, with some juicy morsels provided around the edges by a great supporting cast but no heat whatever in the central coupling between Lopez and Aussie TV hunk Alex O'Loughlin.
    • 59 Metascore
    • 40 Andrew O'Hehir
    Begins as pseudo-realism before descending into weird and mangled wank-job fantasy.
    • 21 Metascore
    • 40 Andrew O'Hehir
    Somehow Kutcher and Heigl and Tom Selleck and Catherine O'Hara (as her parents) are all fun to watch a fair amount of the time, without the movie they're in being any good at all.
    • 57 Metascore
    • 40 Andrew O'Hehir
    The hit-to-miss gag ratio is atrocious, and we spend most of the movie hanging out with these borderline-agreeable characters, waiting for something to happen.
    • 49 Metascore
    • 40 Andrew O'Hehir
    This one has its technical virtues, but it’s frankly kind of a muddle, and may have been doomed from the outset. I would divide the potential audience for Oldboy into two groups: Those who will be disappointed and those who will be bewildered.
    • 35 Metascore
    • 40 Andrew O'Hehir
    A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.
    • 71 Metascore
    • 40 Andrew O'Hehir
    O'Connor chucks away everything that was interesting or dark or subtle in Warrior and replaces it with a pseudo-individualist, sub-Freudian, Tea Party-friendly fantasy.
    • 42 Metascore
    • 40 Andrew O'Hehir
    But in the end conventional sentiment, rather than any actual morality, is all that the script for The Family Man (by David Diamond and David Weissman) has to offer.
    • 61 Metascore
    • 40 Andrew O'Hehir
    What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
    • 68 Metascore
    • 40 Andrew O'Hehir
    A relentlessly gruesome, visually impressive and ultimately not very interesting movie with some pretensions to seriousness.
    • 25 Metascore
    • 40 Andrew O'Hehir
    It gets much more watchable in the last half-hour.
    • 63 Metascore
    • 40 Andrew O'Hehir
    I'd rate Bubble at no better than a C-plus for artistic achievement and a D-minus for audience appeal. In one sense, it accomplishes its goals efficiently by making you feel, in less than 80 minutes, as if you've gotten permanently trapped in the dead-end, trailer-park lives of its working-class characters. I've never been so grateful to get out of a theater, turn my cellphone back on and plug myself into a $4 Starbucks latte.
    • 49 Metascore
    • 40 Andrew O'Hehir
    Dark Matter has neither the technical command of an art-house film nor the manufactured intensity of a grade-B thriller, yet it's also too cheap and dirty to feel like a Hollywood-scale drama.
    • 79 Metascore
    • 40 Andrew O'Hehir
    Any film that begins with one of those fake-news montages, where snippets of genuine CNN footage are stitched together to concoct a feeling of semi-urgency around its hackneyed apocalypse, already sucks even before it gets started.
    • 41 Metascore
    • 40 Andrew O'Hehir
    Its shameless and nonsensical combination of ingredients finally won me over, after a fashion, when I realized that its gung-ho Navy-recruitment propaganda and retrograde gender politics shouldn't be taken any more seriously than the ZZ Top, AC/DC and Billy Squier songs on the soundtrack.
    • 66 Metascore
    • 40 Andrew O'Hehir
    A limp and dreary experience, at least after you get past its intriguing premise. It's poorly written and woodenly acted, completely formulaic and hopelessly imprisoned by both its genre and finally its form.
    • 24 Metascore
    • 40 Andrew O'Hehir
    Utterly predictable, thoroughly sentimental and -- worse -- not all that funny. It makes your average episode of "Third Rock From the Sun" look like the edgy mutant offspring of John Waters and Ingmar Bergman.
    • 33 Metascore
    • 40 Andrew O'Hehir
    This initial “Mortal Instruments” picture has the vibe of a straight-to-video release from the mid-‘90s, except with a $60 million budget and considerable special-effects expertise.
    • 45 Metascore
    • 40 Andrew O'Hehir
    I don't think any of it really hangs together as anything resembling drama, or that Michael is ever a remotely likable character, before or after his day of reckoning. But Adam Sandler didn't get where he is today by making movies for me and Roger Ebert to like.
    • 46 Metascore
    • 40 Andrew O'Hehir
    Unless you like boob jokes and preachy sentimentalism, this comedy isn't funny at all.
    • 36 Metascore
    • 40 Andrew O'Hehir
    This film's dithering, handsome, morally ambivalent Hamlet, is a profoundly unsatisfactory character.

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