Andrew O'Hehir
Select another critic »
For 1,335 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 Manufactured Landscapes
Lowest review score: 0 The In Crowd
Score distribution:
1,335 movie reviews
    • 74 Metascore
    • 70 Andrew O'Hehir
    Don’t get me wrong, I like trash just fine, and the twisty-loo, triple-abduction plot of Prisoners certainly kept me watching to the end. (You’ll figure out some of screenwriter Aaron Guzikowski’s plot twists, but not all of them.) It’s the imitation-David Fincher pretentiousness that gets on my nerves.
    • 65 Metascore
    • 70 Andrew O'Hehir
    It’s a highly enjoyable picture.
    • 62 Metascore
    • 70 Andrew O'Hehir
    It's entirely sincere and genuinely not terrible. Burns knows the milieu of his suburbanized New York Irish-American characters at a bone-deep level (enough to induce powerful flashbacks in someone of my background), and the tone of regretful, tragicomic, low-key melodrama he strikes is just right.
    • 70 Metascore
    • 70 Andrew O'Hehir
    One of the great things about Scott Thurman's film - a low-budget but thoroughly watchable documentary, largely funded on Kickstarter – is that it helped me see the world from McLeroy's point of view, which I might previously have considered impossible.
    • 78 Metascore
    • 70 Andrew O'Hehir
    Homemade as it clearly is, and first-drafty as it often feels, Whedon’s Much Ado will reward repeat viewings, for the adroitly paced dialogue, the debauched humor of the extended party scenes and the offbeat visual jokes.
    • 60 Metascore
    • 70 Andrew O'Hehir
    For me the breakthrough in At Any Price comes from 59-year-old Dennis Quaid, cementing his character-actor renaissance with what may be the nastiest role of his career.
    • 57 Metascore
    • 70 Andrew O'Hehir
    Rubberneck immediately put me in mind of the classic slow burn of vintage thrillers like Fritz Lang’s “M” and Michael Powell’s “Peeping Tom,” although Karpovsky and co-writer Garth Donovan have cited all kinds of other things, from “Michael Clayton” to “Caché” to “Fatal Attraction.”
    • 60 Metascore
    • 70 Andrew O'Hehir
    It’s an enormous relief to have a lightweight but non-insulting date movie to recommend in this arid season. This isn’t a movie that requires your full attention at every second – although when Dyrholm and Brosnan are on-screen, you won’t be able to look away – but it’s a nifty entertainment that’s always easy on the eyes and gains just a bit of dramatic weight as it moves forward.
    • 55 Metascore
    • 70 Andrew O'Hehir
    Brandon Cronenberg clearly understands that he has to deal with the legacy of his last name, and Antiviral feels to me like a perverse act of exorcism, half tribute and half cleansing ritual.
    • 66 Metascore
    • 70 Andrew O'Hehir
    This is a sweet, lively and funny movie rather than a fully realized one, but it makes clear that Gordon-Levitt has a natural feeling for cinema and should do more of it.
    • 44 Metascore
    • 70 Andrew O'Hehir
    While the whole thing feels weirdly miscalculated to me, A Million Ways to Die in the West tweaks the formula just enough, delivers a few laughs and keeps the guest stars coming.
    • 60 Metascore
    • 70 Andrew O'Hehir
    Lone Survivor has no politics in the sense that it presents a more or less factual story about Luttrell and his comrades trying to fight their way out against overwhelming odds, and tells the truth that most of them didn’t make it. But the visual symbolism and the iconography of this movie are not apolitical or ideologically neutral at all.
    • 66 Metascore
    • 70 Andrew O'Hehir
    If you can tolerate watching it once, it will burrow into your brain and never get out again; your only recourse will be dragging your friends into the nightmare and seeing it again.
    • 77 Metascore
    • 70 Andrew O'Hehir
    It’s shot through with sadness and beauty, with dry humor, with the certainty that even things meant to last forever actually don’t.
    • 36 Metascore
    • 70 Andrew O'Hehir
    As a visual symphony, The Canyons is often masterful, and while it may be pornographic in places, it’s never campy. At the center of its cold, beautiful and half-dead world is the almost incandescent Lindsay Lohan, burning like a flawed diamond.
    • 72 Metascore
    • 70 Andrew O'Hehir
    Pusher begins as a fairly standard ’90s crime saga, almost an open imitation of Quentin Tarantino... But something happens on the way to the film’s haunting and ambiguous conclusion.
    • 70 Metascore
    • 70 Andrew O'Hehir
    [An] evenhanded and carefully crafted documentary.
    • 60 Metascore
    • 70 Andrew O'Hehir
    With the genial pairing of Jennifer Aniston as a rich guy’s trophy wife and John Hawkes as a low-rent criminal at the center of a colorful cast and a pitch-perfect rendering of caste-divided Detroit, Life of Crime is a bittersweet end-of-summer surprise.
    • 76 Metascore
    • 70 Andrew O'Hehir
    Philomena turns out to be a subtly told tale of tragedy and redemption, with much of the sentimental payoff you’re expecting but several intriguing plot twists along the way.
    • 69 Metascore
    • 70 Andrew O'Hehir
    Donald Rumsfeld, then, is almost the perfect foil or adversary to Morris, and part of the absurd magic of Morris’ extended interviews with Rumsfeld is that they almost never feel adversarial.
    • 30 Metascore
    • 70 Andrew O'Hehir
    CBGB has more of the original prankish punk spirit than it even recognizes.
    • 61 Metascore
    • 70 Andrew O'Hehir
    There are a number of terrific production numbers in Lucy, basically violent action scenes that border on slapstick, and as long as we agree in advance that the “science” in this movie goes beyond pseudo into total B.S., I believe you will leave satisfied.
    • 71 Metascore
    • 70 Andrew O'Hehir
    Much as I enjoyed watching most of it, I was deeply grateful when it was over and feel no strong desire to see the inevitable “Raid 3.”
    • 61 Metascore
    • 70 Andrew O'Hehir
    This is a performance of great subtlety, not a caustic caricature: Rat (Cusack) still believes in something, probably still in some Platonic ideal of poetic possibility.
    • 66 Metascore
    • 70 Andrew O'Hehir
    A subtle, underplayed psychological drama with terrific work by all three actors.
    • 66 Metascore
    • 70 Andrew O'Hehir
    This is not one of those Eisenhower-Little Rock moments where you get to feel warm and fuzzy about the power of the state being on the right side of history.
    • 64 Metascore
    • 70 Andrew O'Hehir
    After the fundamental problem of Coherence has become clear, or clear-ish – there’s another dinner party, at that other house, that looks an awful lot like this one – the movie becomes slightly too much like an unfolding mathematical puzzle, although an ingenious one that reaches a chilling conclusion.
    • 71 Metascore
    • 70 Andrew O'Hehir
    Amalric and cinematographer Christophe Beaucarne structure much of The Blue Room around Julien’s bewildered and increasingly disheveled face, as he tries (and fails) to understand the people around him.
    • 63 Metascore
    • 70 Andrew O'Hehir
    Can I tell you exactly what happens in Memphis, or what it’s “about”? Absolutely not. But it worked its magic on me, and its meaning is something I take on faith.
    • 48 Metascore
    • 60 Andrew O'Hehir
    An elegant but muddled affair, worth seeing despite (and maybe because of) its own split personality.
    • 53 Metascore
    • 60 Andrew O'Hehir
    Après Vous offers nice sound design and an unfussy presentation of middle-class Paris. It comes and goes with no unpleasant aftertaste.
    • 62 Metascore
    • 60 Andrew O'Hehir
    5x2
    In the end I respected 5x2 more than I loved it. As we move backward in time, the distance between audience and characters inevitably widens -- we know what's going to happen and they don't -- and I found the effect a little astringent.
    • 55 Metascore
    • 60 Andrew O'Hehir
    Yes
    For the most part Yes buzzes with visual life and imagination.
    • 58 Metascore
    • 60 Andrew O'Hehir
    A lovely, faintly sinister travelogue.
    • 59 Metascore
    • 60 Andrew O'Hehir
    This is an ambling, relaxed talking-head docu in the grand European style.
    • 42 Metascore
    • 60 Andrew O'Hehir
    The kind of little indie you'll either hate or find impossible to resist. I fall into the latter camp, but can appreciate opposing views.
    • 56 Metascore
    • 60 Andrew O'Hehir
    Reygadas is an undeniably important artist hewing his own path, but who is also self-consciously playing to the tastes of a tiny elite audience that craves obscurantism, confrontation and heavy-handed symbolism. Still, I really want you to see this. Then I'll have somebody to talk about it with.
    • 62 Metascore
    • 60 Andrew O'Hehir
    This film is an inevitable product of our age, and enjoyable, right up to whatever your ickiness threshold is.
    • 64 Metascore
    • 60 Andrew O'Hehir
    At the risk of retreating into Waffle House aesthetic relativism, I think the unsettling power of Michael Winterbottom and Mat Whitecross' film stems from its contradictions.
    • 61 Metascore
    • 60 Andrew O'Hehir
    For me, the meticulous style, the fascination with ritualized (and ludicrous) violence and the film-geek self-referentiality all seem like markers of a film made by a young man, for other young men. If I were 23, and full to the brim with dark-hearted existentialism, I might love it too.
    • 41 Metascore
    • 60 Andrew O'Hehir
    A cryptic and unsettling film.
    • 68 Metascore
    • 60 Andrew O'Hehir
    Greenwald isn't capable of the magisterial, mournful manner of, say, Eugene Jarecki's "Why We Fight," but the two films would make a natural double bill.
    • 57 Metascore
    • 60 Andrew O'Hehir
    The Last Kiss is more a capable-craftsman film than a work of genuine dramatic insight, but here and there it opens a window onto the terror and wonder of grown-up life, one its characters don't especially want to look through.
    • 69 Metascore
    • 60 Andrew O'Hehir
    Absolute Wilson changed my views of Wilson as a person tremendously, and at least gave me some useful context for his art.
    • 58 Metascore
    • 60 Andrew O'Hehir
    It's essentially a mishmash of random ingredients, not very systematically presented and skewed to flatter its audience's presumed enlightenment.
    • 62 Metascore
    • 60 Andrew O'Hehir
    I think the movie is so restrained, and holds back so much on conventional plot and characterization, that its emotional impact is severely blunted. Nolte is excellent, I suppose, but we've seen this damaged-American-dude shtick from him before.
    • 68 Metascore
    • 60 Andrew O'Hehir
    A tantalizing and beautiful picture made with tremendous integrity, and anchored by two marvelous performances, Isabel Coixet's The Secret Life of Words still, somehow, doesn't quite work.
    • 63 Metascore
    • 60 Andrew O'Hehir
    Even as Sylvester Stallone's long goodbye to the heroic underdog who made him famous descends from pathos into silliness, and from fairy tale into hallucination, you can't help liking the big galoot.
    • 65 Metascore
    • 60 Andrew O'Hehir
    This is a tepidly amusing film that will offend no one, including those it claims to skewer.
    • 72 Metascore
    • 60 Andrew O'Hehir
    Offers an intriguing, and profoundly frustrating, view of the New York underground hero whose 1962 erotic fantasy "Flaming Creatures" paved the way for Andy Warhol, John Waters, the "queer cinema" explosion and pretty much anybody who's ever made a movie starring his friends in weird Salvation Army outfits.
    • 57 Metascore
    • 60 Andrew O'Hehir
    Fundamentally, it's a well-executed formula movie, perfect for first-date couples or miscellaneous group outings.
    • 60 Metascore
    • 60 Andrew O'Hehir
    A handsome and well-acted film -- if you like that bitten-off, half-Hemingway style -- but also a grim, emotionally strangled one with a strong sadistic current, no genuinely likable characters and almost no humor.
    • 68 Metascore
    • 60 Andrew O'Hehir
    A sunny, cheerful, thoroughly artificial concoction, going nowhere with no particular speed. Still, better than your average airplane movie.
    • 55 Metascore
    • 60 Andrew O'Hehir
    It's a perfectly cheerful time at the movies, without any hint of drama or surprise.
    • 61 Metascore
    • 60 Andrew O'Hehir
    Despite its schizophrenic nature and often disagreeable characteristics, Broken English has flashes of something. You might say it has an integrity of purpose, if not of execution.
    • 64 Metascore
    • 60 Andrew O'Hehir
    Whatever we may make of van Gogh's life and death, Buscemi's talky, stagey Interview -- the first of three van Gogh adaptations planned by American actor-directors -- doesn't make much of a case for him as an important or original artist.
    • 63 Metascore
    • 60 Andrew O'Hehir
    The film's intimacy never feels fake, it's sporadically and unpredictably funny (I didn't exactly enjoy the cacophonous trumpet duet of the "1812 Overture," but I won't soon forget it), and the nonprofessional cast is surprisingly good.
    • 62 Metascore
    • 60 Andrew O'Hehir
    Lee Harvey Oswald's guilt or innocence or accomplices are not the point of the film; Stone is more interested in the fact that much about the Kennedy murder is now so shrouded in myth and mystification as to be permanently unknowable, and that that fact alone has gnawed away at the self-confidence of middle-class white America ever since.
    • 57 Metascore
    • 60 Andrew O'Hehir
    This is going to be a notorious film that young audiences will be daring themselves to see, but it's actually funnier, darker and more troubling before it turns into a carnival of repeated dismemberment.
    • 52 Metascore
    • 60 Andrew O'Hehir
    Brian De Palma's Redacted doesn't quite work as a movie. But it works as SOMETHING.
    • 65 Metascore
    • 60 Andrew O'Hehir
    About midway through Denzel Washington's new film The Great Debaters comes a raw and terrifying scene that exemplifies why the movie's worth seeing, despite its hackneyed and awkward story.
    • 83 Metascore
    • 60 Andrew O'Hehir
    If Paranoid Park is mainly an accumulation of the signs and symbols and images inside Van Sant's own head, that's artistically legitimate. When he makes a feeble effort to connect Alex's plight to the Iraq war and the cultural climate of Bush-era America, I just don't buy it.
    • 67 Metascore
    • 60 Andrew O'Hehir
    Beckinsale tackles the downscale role manfully, but Rockwell is nearly unrecognizable as the pudgy, suicidally depressed, chronically inept Glenn, who's acting out a half-convincing portrayal of himself as a born-again Christian.
    • 48 Metascore
    • 60 Andrew O'Hehir
    21
    Spacey's engaging for a while in one of his patented double-edged, sharky roles.
    • 70 Metascore
    • 60 Andrew O'Hehir
    It's literally difficult to believe that the person who made this picturesque, clueless, oddly misanthropic picture also made "Annie Hall" and "Crimes and Misdemeanors."
    • 57 Metascore
    • 60 Andrew O'Hehir
    This third-act redemption raises Towelhead several notches, but it still ends up feeling like a well-acted and well-intentioned after-school special, a long way from the vividness and texture of Ball's television work.
    • 63 Metascore
    • 60 Andrew O'Hehir
    So subtle and subdued that it nearly undercuts itself. I'd describe it, in fact, as a film that doesn't quite work -- but the way it doesn't work is so distinctive and so interesting that it marks Jenkins as an exciting new face on the American indie scene.
    • 22 Metascore
    • 60 Andrew O'Hehir
    Director and co-writer Jonathan Glatzer handles his talented cast well, and the movie is dark, droll and sentimental in roughly the correct proportions. Worth a look.
    • 40 Metascore
    • 60 Andrew O'Hehir
    Shrink offers a roster of wonderfully eccentric characterizations, shoehorned into a dramatic structure that's just a little too formulaic.
    • 43 Metascore
    • 60 Andrew O'Hehir
    An agreeably chewy, pulpy work of old-fashioned crime cinema, a fair bit overcooked and overlong, but worth catching for its acting, its atmosphere and its action set-pieces.
    • 49 Metascore
    • 60 Andrew O'Hehir
    Isn't much more than a student film made by a talented amateur who's in over his head. Burns has a decent eye and a breezy sense of pace, and he'll make better movies if he remembers where he came from.
    • 36 Metascore
    • 60 Andrew O'Hehir
    There's nothing unconventional or daring about On_Line, but considering how cheap it undoubtedly was to make, the acting, writing and direction all stand up pretty well; this is more intelligent and better structured than at least half the Hollywood movies I see.
    • 46 Metascore
    • 60 Andrew O'Hehir
    I wanted to take these two characters somewhere else and make a real movie about them...But Vaughn provides so many spooky, hilarious, unhinged moments, you won't mind sitting through it.
    • 38 Metascore
    • 60 Andrew O'Hehir
    This is a parlor trick, but it's a hell of a good one.
    • 56 Metascore
    • 60 Andrew O'Hehir
    In its quest to create "wholesome" entertainment, the movie industry is furiously turning back the clock four decades or so, to the days when men were men, girls were cute but knew their place and pencil-necked Poindexters stayed out of your damn face.
    • 56 Metascore
    • 60 Andrew O'Hehir
    The second movie by "Being John Malkovich" writer Charlie Kaufman is even weirder than his first.
    • 43 Metascore
    • 60 Andrew O'Hehir
    An engrossing, gem-hard little popcorn-cruncher.
    • 18 Metascore
    • 60 Andrew O'Hehir
    OK, so Valentine is, like, this new serial-killer movie that totally blows. But kind of in a good way. Like, it's funny.
    • 33 Metascore
    • 60 Andrew O'Hehir
    For the most part it's a blast.
    • 35 Metascore
    • 60 Andrew O'Hehir
    It might be nice if Ghosts of Mars had more to offer than snappy repartee and shameless gore, or if it could borrow a little narrative tension from its Alien Chain Saw forebears.
    • 55 Metascore
    • 60 Andrew O'Hehir
    The resulting film directed by Scott Hicks is afflicted by terminal nostalgic drift. You come out of the theater with nothing more specific than half-pleasant memories of baseball gloves, Ferris wheels and vintage automobiles. I've had naps that were more exciting.
    • 33 Metascore
    • 60 Andrew O'Hehir
    A chaste, lively and mildly goofy romance to dispel the winter blahs.
    • 55 Metascore
    • 60 Andrew O'Hehir
    As utterly disastrous movies go, this one's really got something.
    • 74 Metascore
    • 60 Andrew O'Hehir
    An endless battle scene in search of a movie. It's every bit as harrowing -- and also every bit as pointless and misguided -- as the botched military mission it depicts.
    • 71 Metascore
    • 60 Andrew O'Hehir
    Never quite establishes its own identity, and when you remember it in two years it's likely to be that movie you saw that you kind of liked with that girl in it, what's her name, from TV.
    • 61 Metascore
    • 60 Andrew O'Hehir
    A fever dream about an aging, grasping, neurotic artist who brings his disastrous personal life, thinly veiled, into his work and ends up as a grotesque caricature of himself, alienating everyone who ever loved him.
    • 34 Metascore
    • 60 Andrew O'Hehir
    It may be a haphazard mess, but it's actually pretty funny.
    • 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.
    • 73 Metascore
    • 60 Andrew O'Hehir
    Wag the Dog is such a crisply delivered political satire, so packed full of wickedly amusing details and expertly modulated performances and with its heart so obviously in the right place that I really, truly wish I could tell you it was also a good movie.
    • 53 Metascore
    • 60 Andrew O'Hehir
    The 76-year-old Zeffirelli will make many more movies, but Tea With Mussolini has the unmistakable feeling of a personal testament. Its sunny disposition and modest wit are well-suited to the genial temper of this born entertainer.
    • 64 Metascore
    • 60 Andrew O'Hehir
    This version of the Potter saga is fun and harmless rather than memorable or imaginative. That's certainly no crime.
    • 42 Metascore
    • 60 Andrew O'Hehir
    The funny thing about all this is that a half-hour into Underworld I couldn't wait for it to be over. When it really was over, I couldn't wait for the next installment. Go figure.
    • 45 Metascore
    • 60 Andrew O'Hehir
    It has, at times, a loopy, edgy humor and moments of genuinely affecting pathos. But somehow the combination doesn't add up to anything.
    • 64 Metascore
    • 60 Andrew O'Hehir
    Many years in the making, Freida Lee Mock's documentary Wrestling With Angels paints an intimate and detailed portrait of playwright Tony Kushner, in the years since he became the most important living American dramatist. It's hard to avoid the conclusion that this is something of a booby prize.
    • 55 Metascore
    • 60 Andrew O'Hehir
    If Christensen's conventional plot is somewhat at odds with her downbeat realism, the idea that these characters are willing to fight like cats and dogs, and destroy each other and themselves, to avoid confronting their intense attraction to each other is totally convincing.
    • 66 Metascore
    • 60 Andrew O'Hehir
    An alternately charming and frustrating comic entertainment.
    • 71 Metascore
    • 60 Andrew O'Hehir
    Zbanic is such an acute observer of women's lives in their intimate details, and constructs such fine scenes, that I think this might be the best film to emerge from the aftermath of the Balkan conflict.
    • 70 Metascore
    • 60 Andrew O'Hehir
    A bit pedantic, but thorough and interesting throughout, a must for history buffs.
    • 44 Metascore
    • 60 Andrew O'Hehir
    Haneke's new Funny Games has a current of bleak humor that comes through more clearly when you're not reading subtitles. It remains a horrifying, implacable mind-fuck, liable to be widely misunderstood and widely despised.
    • 73 Metascore
    • 60 Andrew O'Hehir
    Arguably, A Girl Cut in Two is more fun around the edges, as an assemblage of bizarre supporting characters and throwaway comic bits, than it is down the middle, as a classic French morality tale.
    • 56 Metascore
    • 60 Andrew O'Hehir
    That whole meta-biographical aspect doesn't bug me much because everybody who's ever written or directed a romantic comedy is drawing on their own emotional experience; this one's just a little more obvious about it.
    • 59 Metascore
    • 60 Andrew O'Hehir
    It's an ambitious, uneven, surprisingly talky melodrama.
    • 61 Metascore
    • 60 Andrew O'Hehir
    I enjoyed it immensely, flat-footed dialogue and implausible situations and all. Which doesn't stop me from believing that in its totality Secretariat is a work of creepy, half-hilarious master-race propaganda almost worthy of Leni Riefenstahl, and all the more effective because it presents as a family-friendly yarn about a nice lady and her horse.
    • 39 Metascore
    • 60 Andrew O'Hehir
    Entirely watchable and often pretty fun, in a mishmashed, patchy kind of way.
    • 69 Metascore
    • 60 Andrew O'Hehir
    If a movie can be both exciting and boring at the same time, that movie would be Unstoppable an adrenaline-infused runaway-train flick that perfectly distills director Tony Scott's talents and limitations.
    • 61 Metascore
    • 60 Andrew O'Hehir
    Lomborg has clearly been stung by the suggestion that he's a front man for know-nothingism, and Cool It is an agreeable and partly successful attempt to repair his image.
    • 38 Metascore
    • 60 Andrew O'Hehir
    If it's a nonsensical patchwork quilt, it's mostly a watchable one.
    • 52 Metascore
    • 60 Andrew O'Hehir
    It's almost really cool, without quite being really cool.
    • 52 Metascore
    • 60 Andrew O'Hehir
    The pleasant surprise when you actually watch Insidious is that it turns out to be a moderately effective suburban-family creep show, majorly in debt to "Poltergeist" and "The Exorcist" and capturing at least a little of their spirit.
    • 45 Metascore
    • 60 Andrew O'Hehir
    To my taste, savvy Hollywood veteran Bill Condon debuts as director of the two-part "Twilight" conclusion in satisfying fashion, delivering a voluptuous if often inert spectacle that splits the difference between high camp and decadent romance.
    • 59 Metascore
    • 60 Andrew O'Hehir
    Tower Heist is funny in the way of so many Hollywood comedies, meaning that individual scenes are often crisply written and played, but the whole doesn't add up to anything.
    • 65 Metascore
    • 60 Andrew O'Hehir
    As to the question of whether Circumstance is actually a good film, or just one with an important story to tell, a high degree of difficulty and some hot all-girl action, I think the verdict is mixed.
    • 49 Metascore
    • 60 Andrew O'Hehir
    My eyes never left the screen and my attention never wandered; in a restricted, technical sense of the term, Kidnapped is a masterpiece. But I make no claims for its moral value or for any cathartic or redemptive qualities.
    • 44 Metascore
    • 60 Andrew O'Hehir
    It's a generically enjoyable action film with a bit of hardboiled based-on-a-true-story-ness about it, and since it's set in the '80s and feels like an '80s movie, it seems a lot like something you must have seen years ago.
    • 61 Metascore
    • 60 Andrew O'Hehir
    I simultaneously want to endorse its ambition and nerve and report that it's a very mixed bag.
    • 52 Metascore
    • 60 Andrew O'Hehir
    This piece of midsummer madness is undeniably silly and delusional, a dire political fable told as tongue-in-cheek pastiche.
    • 57 Metascore
    • 60 Andrew O'Hehir
    Unlike most issue-oriented documentaries about the abundant idiocy of the human species and the imminent demise of our planet, Mark S. Hall's Sushi: The Global Catch offers foodies and sushi buffs a refreshing palate-cleanser before the parade of experts and the dire news reports.
    • 45 Metascore
    • 60 Andrew O'Hehir
    While the portrayal of Southern race relations in the '60s is less central here than in "The Help," it's also less labored and earnest, and one could argue that it's subtler, more intimate and more honest.
    • 52 Metascore
    • 60 Andrew O'Hehir
    LUV
    Both for good and for ill, LUV has a film-school feeling about it, and channels a legacy of fatalistic American crime cinema that includes "Mean Streets" and "Treasure of the Sierra Madre."
    • 68 Metascore
    • 60 Andrew O'Hehir
    I never stopped being interested in The Place Beyond the Pines, and never stopped rooting for Cianfrance to make the hubristic ambition of his immense tripartite scheme pay off, even as it evidently falls apart.
    • 66 Metascore
    • 60 Andrew O'Hehir
    Lee Daniels’ The Butler is big, brave, crude and contradictory, very bad in places and very good in others, and every American should see it.
    • 72 Metascore
    • 60 Andrew O'Hehir
    In the end The Silence is more like an intriguing work of misdirection than a great crime film, but it has a dreamlike and disturbing undertow you won’t soon forget, and Odar is unquestionably a director to watch.
    • 71 Metascore
    • 60 Andrew O'Hehir
    22 Jump Street is the good-natured, sloppily rendered pile of balderdash for that moment, a movie that’s immune to all criticism and not worth bothering to dislike.
    • 54 Metascore
    • 60 Andrew O'Hehir
    The singer Pink, also known as Alecia Moore, here plays Dede, one of the group’s only female members, and the connection between Dede and Neil, which at first stretches credibility to the breaking point, may be the best thing about “Thanks for Sharing.”
    • 58 Metascore
    • 60 Andrew O'Hehir
    Disney World, in this incoherent but often amazing work of American psychodrama, has a lot in common with the Overlook Hotel of “The Shining,” the Venice of “Death in Venice” and the booze-soaked Cuernavaca of “Under the Volcano.” It’s a zone of existential dread, the place where masculine dreams go to die, the place where the unburied ghosts of civilization rise up like Mouse-eared, three-fingered zombies and bite us in the ass.
    • 62 Metascore
    • 60 Andrew O'Hehir
    This film is never less than pleasant to spend time with, and that’s not a minor consideration when it comes to summer moviegoing.
    • 52 Metascore
    • 60 Andrew O'Hehir
    Citizen Koch is kind of a mess. But it’s a mess well worth discovering for yourself.
    • 23 Metascore
    • 50 Andrew O'Hehir
    Basically brings home the bacon for horror fans -- it offers decent special effects and a nice array of those moments where you shriek and jump and nearly pee your pants but it turns out to be Mom or the cat after all.
    • 60 Metascore
    • 50 Andrew O'Hehir
    9
    Actually, the problem with wunderkind director Shane Acker's "stitchpunk" animated fantasy 9 isn't so much that it bears a sped-up, dumbed-down resemblance to "The Lord of the Rings," although it does. It's more that Acker's dark and whimsical creation, so clearly in the tradition of his mentor Tim Burton, is wondrous to behold but offers only an indifferent and generic mishmash of quest fantasy and post-apocalyptic science fiction when it comes to story.
    • 55 Metascore
    • 50 Andrew O'Hehir
    High-style goofballing and globetrotting can get you pretty far, but maybe not as far as Johnson wants us to go.
    • 64 Metascore
    • 50 Andrew O'Hehir
    If a movie can be fascinating and tedious at the same time, Inside Deep Throat -- which more or less depicts the America I have just described -- is that movie.
    • 41 Metascore
    • 50 Andrew O'Hehir
    I'm always grateful to practice a little affirmative action on behalf of grade-C sleaze movies with a budget you could probably locate in your sofa cushions or your dryer, and Tim McCann's digital-video opus Nowhere Man is a fine example of the species.
    • 59 Metascore
    • 50 Andrew O'Hehir
    I feel prodigious emotion underneath the pretty, preserved features of The Ballad of Jack and Rose, channeled into a vehicle that's a half-successful imitation of "You Can Count on Me" or "In the Bedroom."
    • 33 Metascore
    • 50 Andrew O'Hehir
    The good news is that Duchovny has an undeniable feel for this medium, and a fine rapport with actors.
    • 56 Metascore
    • 50 Andrew O'Hehir
    In addition to possessing the most confusing title of the year, Canadian filmmaker Michael Dowse's high-energy dance-club saga It's All Gone Pete Tong arrives in an elaborate package of spoof and deception that should win the admiration of any practical-joke connoisseur.
    • 82 Metascore
    • 50 Andrew O'Hehir
    Amid the infoglut that surrounds us, Gibney's film feels too much like more noise. Is it telling the most important business story of our lifetimes, or is it just another fantastical yarn, crammed into the schedule after Scott and Laci Peterson, but before Charlemagne and the ancient Peruvian astronauts?
    • 35 Metascore
    • 50 Andrew O'Hehir
    It's pretentious highbrow trash, but as far as that goes it works pretty well.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Setting such larger aesthetic questions aside, there isn't much to dislike about The Longest Yard, at least once you've gotten used to the pervasive fear of homosexuality that seems to ooze from the film's pores.
    • 42 Metascore
    • 50 Andrew O'Hehir
    Horror fans should see this, at least in geeky admiration for what it pulls off, but in the long run it's no more than a crisp footnote to genre history.
    • 52 Metascore
    • 50 Andrew O'Hehir
    Wild Side is sometimes maddening to watch, but will haunt you for days afterward.
    • 59 Metascore
    • 50 Andrew O'Hehir
    As enjoyable as Close is, Heights as a whole is a mannered simulation that only occasionally and accidentally feels like real New York life.
    • 67 Metascore
    • 50 Andrew O'Hehir
    It's a meticulous nest of interlocking elements, not at all haphazard. But in its unrelieved bleakness and singularity of vision, it supplies very little in the way of conventional movieness.
    • 45 Metascore
    • 50 Andrew O'Hehir
    If the resulting film doesn't work equally well at all levels, Wood (who starred in "Thirteen") gives an astonishing performance that pushes it most of the way there.
    • 53 Metascore
    • 50 Andrew O'Hehir
    This is one of those movies destined to be watched by family groups who can't agree on what to see: You'll all get a few chuckles, and then it's home for dessert.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Isn't exactly bad and isn't exactly good. It's raw in some places and overcooked in others.
    • 62 Metascore
    • 50 Andrew O'Hehir
    Of course, the very existence of someone like Willmott -- a black university professor who can make an angry, ruthless satire about American racism with impunity -- suggests that we're still a long way from living in the CSA.
    • 60 Metascore
    • 50 Andrew O'Hehir
    Perhaps understandably, these artifacts of a vastly different ideological and economic era -- have become kitsch objects, the focus of a half-horrified nostalgia, in the midst of the feverish Chinese boom.
    • 64 Metascore
    • 50 Andrew O'Hehir
    It's kind of a mess. An agreeable, even lovable mess, but still a mess.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Mediocre raunchy comedy.
    • 69 Metascore
    • 50 Andrew O'Hehir
    The hectic, sprawling Fanfan la Tulipe eventually feels like too much -- too many goofy asides, too much Comédie Française hambone acting, too much gallantry and villainy, too much forced good cheer.
    • 49 Metascore
    • 50 Andrew O'Hehir
    For me, Franken is funniest at his least guarded and his most incorrect, and as he inches toward becoming a politician himself, we get less and less of that.
    • 37 Metascore
    • 50 Andrew O'Hehir
    A trashy thriller of the kind that used to make up the second half of double bills in crumbling downtown theaters, circa 1977.
    • 62 Metascore
    • 50 Andrew O'Hehir
    It's a glimpse into a world most secular, metropolitan liberals never see, and it's likely to induce howls of both terror and hilarity from big-city audiences.
    • 67 Metascore
    • 50 Andrew O'Hehir
    I suspect this guy can make a good movie if he learns the right lessons; he's made about half of one here. But the praise heaped upon A Guide to Recognizing Your Saints is way too much, way too soon.
    • 47 Metascore
    • 50 Andrew O'Hehir
    It's a compact and symmetrical picture with all its plot points in the right places, but I never found it convincing in the slightest.
    • 45 Metascore
    • 50 Andrew O'Hehir
    An uneven but impressively ambitious picture.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Puccini for Beginners may divide individual audience members. It divided me; rarely have I seen a film simultaneously so good and so bad.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Whole New Thing comes unglued toward the end, spiraling into melodrama without ever escaping its whiny, indie-rock soundtrack.
    • 45 Metascore
    • 50 Andrew O'Hehir
    Evening feels like one of those devil's-candy productions that aim to bring artistry to a large audience, specifically a large audience of adult women who don't often go to the movies. Even considering it in that light, I found it miscalculated and overcooked.
    • 52 Metascore
    • 50 Andrew O'Hehir
    The whole thing is handsomely mounted, with plenty of Goya paintings and supposed observations about the ironies of history and the cyclical nature of life, etc. Forman's always been a huckster, but I never thought I'd see him waste this many good actors on a movie this bad.
    • 52 Metascore
    • 50 Andrew O'Hehir
    The movie never fails to be crisply written and cannily delivered, but it's way too steeped in TV-culture inside jokes for its own good, and August's attempts to suffuse the whole thing with ontological or theological meaning are ultimately pretty dumb.
    • 84 Metascore
    • 50 Andrew O'Hehir
    The evident strengths and laudable intentions of Before the Devil Knows You're Dead (and even the appeal of Marisa Tomei in her undies) are overwhelmed by an implausible plot verging on unintentional comedy and a panoply of Noo Yawk dirt-bag supporting characters who might've seemed awkward on a 1993 episode of "NYPD Blue."
    • 68 Metascore
    • 50 Andrew O'Hehir
    It's the film's reassuring, almost hypnotic visual rhythms, along with its Hollywood-like narrative structure -- which is closer to "Drumline" or "Bring It On" than to most documentaries -- that make it bearable.
    • 47 Metascore
    • 50 Andrew O'Hehir
    The film has moments of goofy delight, some pseudo-David Lynch spookery and a couple of comic supporting turns.
    • 32 Metascore
    • 50 Andrew O'Hehir
    There's almost no such thing as an entertaining holiday trifle anymore -- the kind of casual, cheerful little picture that you might see on a whim and end up enjoying, even beyond the breadth of your modest expectations. The Perfect Holiday is an attempt, at least, to resurrect the idea of the trifle
    • 57 Metascore
    • 50 Andrew O'Hehir
    If you liked "Rocky Balboa" you should be in good shape, since it's exactly the same movie, just aimed at a teeny-tiny-bit younger demographic and with an affectless leading man who avoids hambone acting by not acting at all.
    • 52 Metascore
    • 50 Andrew O'Hehir
    My Blueberry Nights may not quite be what fans of either Jones or Wong Kar-wai -- directing his first film in English -- are expecting. It's a late-night, lovelorn mood piece in a minor key, not complicated or convoluted, finally more confection than substance.
    • 56 Metascore
    • 50 Andrew O'Hehir
    It's an exceptionally well-made example of the kind of delirious, semi-Gothic, overcooked melodrama filmmakers from the Boot have long specialized in.
    • 32 Metascore
    • 50 Andrew O'Hehir
    Deliciously dumb, reasonably well-made.
    • 59 Metascore
    • 50 Andrew O'Hehir
    Alternately winsome and irritating documentary.
    • 26 Metascore
    • 50 Andrew O'Hehir
    A charming but silly love letter to a vanished era of urban bohemia?
    • 64 Metascore
    • 50 Andrew O'Hehir
    Van Damme's remarkable performance -- I say this in all seriousness -- comes pretty close to redeeming the picture's murky and overly complicated artistic intentions.
    • 21 Metascore
    • 50 Andrew O'Hehir
    A self-indulgent and icky film, but reasonably well made and undeniably addictive.
    • 34 Metascore
    • 50 Andrew O'Hehir
    This Friday the 13th is glossy, good-looking garbage, acted out by a cast of big-chested androids (male and female alike) and with the original series' rough edges smooved over. It's reasonably entertaining.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Beyond that educational element and the delicate performances of Dancy and Byrne, I found Adam dramatically limp, predictable and in a curious way even retrograde.
    • 36 Metascore
    • 50 Andrew O'Hehir
    Some viewers may find this movie sexist or misogynist simply based on its premise, but it's a mistake to take Greenaway's symbolic narratives too literally.
    • 78 Metascore
    • 50 Andrew O'Hehir
    You may find yourself spellbound or colossally irritated; it's a close call either way.
    • 33 Metascore
    • 50 Andrew O'Hehir
    It's a sloppy, fun, late-'80s style Hong Kong action flick full of pogo-dancing zombies and voracious vampires who look vaguely like Siamese cats with spoiled cottage cheese cooked onto their faces.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Bleach out the colors, backdate the wardrobes, insert Gary Cooper and Rosalind Russell and you've got one of Frank Capra's lesser films.
    • 43 Metascore
    • 50 Andrew O'Hehir
    This is a highly enjoyable summer thrill ride with an action heroine who likes to be on top, literally and figuratively.
    • 57 Metascore
    • 50 Andrew O'Hehir
    It's almost as lame-brained as any Hollywood blockbuster, if prettier and more pretentious.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Such a feebleminded, good-natured comedy that it actually makes you laugh with that timeless gag of somebody pretending to cough while calling someone else a bad name.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Isn't the worst film in the world, but its vision of reality seems so stylized, so fake, that I came out of it wondering whether it has the slightest idea what it's talking about.
    • 58 Metascore
    • 50 Andrew O'Hehir
    When you watch Greenwald's barrage of pirated Fox News footage -- his filmmaking techniques are clearly testing the outer limits of the "fair use" doctrine, and may yet land him in court -- it's an overwhelming experience well beyond the hoot-inducing moments.
    • 59 Metascore
    • 50 Andrew O'Hehir
    Add Christopher Walken, giving one of his patented demented performances as a Kurtz-esque mining tycoon deep in the Amazon jungle, along with some vague Hollywood politics about labor exploitation, and The Rundown is far too cheerful and good-hearted to be terrible.
    • 49 Metascore
    • 50 Andrew O'Hehir
    It's not merely that these subjects have already been satirized to the point of ultimate tedium; more importantly, Simone just isn't very funny.
    • 39 Metascore
    • 50 Andrew O'Hehir
    It's long. Long movies almost always mean the audience member has time to think, and in this context that's not a good thing.
    • 42 Metascore
    • 50 Andrew O'Hehir
    Alone among the cast, Farrell seems to understand that this movie -- which is lazy and stoned, for all its loud music -- needed somebody to go ape-shit, to pretend to give a crap or at least to have fun.
    • 34 Metascore
    • 50 Andrew O'Hehir
    Does become more engaging as it lurches along, perhaps because you give up hoping that anything will really happen and settle into the Nicolas Roeg-meets-David Lynch-at-the-cast-party-for-"Taxi Driver" atmosphere of mid-'70s nothingness.
    • 42 Metascore
    • 50 Andrew O'Hehir
    The best thing I can say about it is that the costumes and the hambone acting keep it from being a deadly bore.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Isn't a terrible movie, but it is a tremendous disappointment.
    • 45 Metascore
    • 50 Andrew O'Hehir
    Perfectly acceptable entertainment in the Mouse Factory's most familiar vein.
    • 59 Metascore
    • 50 Andrew O'Hehir
    Once again, the filmmaker gets incredibly wobbly at the end of his story, and his resolution of both the alien incursion and of Graham's crisis of faith feels more like a cheap trick than the product of a genuine belief in anything at all.
    • 66 Metascore
    • 50 Andrew O'Hehir
    But imagination and energy are often not enough. On balance, this is the dumbest of the entries in Hollywood's anti-consumerist new wave.
    • 73 Metascore
    • 50 Andrew O'Hehir
    Although his (Eastwood's) intentions are good, he simply isn't capable of the wry, wistful blend of humor and sadness this story desperately needs.
    • 38 Metascore
    • 50 Andrew O'Hehir
    Thoroughly enjoyable, but not because it's any good.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Herman Boone was no doubt a terrific football coach, but the lessons to be drawn from his success in Alexandria are ambiguous, and Remember the Titans is too wrapped up in its weepy macho sentimentality to address them clearly.
    • 47 Metascore
    • 50 Andrew O'Hehir
    The satire doesn't go far enough.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Roy is like a meta-Cruise or a Cruise pastiche; even the disturbing, stalkerish aspects of his character seem as if they were constructed from tabloid stories about the actor's marriage, his religious affiliation, his sexual identity.
    • 65 Metascore
    • 50 Andrew O'Hehir
    An uneven but surprising movie, often outrageously funny and just as often completely flat.
    • 45 Metascore
    • 50 Andrew O'Hehir
    I'd have no problem with the element of rampant, half-wacky speculation at the outer edges of physics in these movies if they came labeled as such.
    • 22 Metascore
    • 50 Andrew O'Hehir
    A winsome, charming and irresistibly romantic picture, and also a profoundly self-involved one that has nothing whatever to do with Iraq or war or much of anything else besides the butterfly-like spirit of Roberto Benigni. But I guess that combination makes it a great holiday selection choice for certain disheveled, liberal family groups. Mine, for instance.
    • 65 Metascore
    • 50 Andrew O'Hehir
    It might be too slow and morbid for American viewers without an existing interest in the subject.
    • 77 Metascore
    • 50 Andrew O'Hehir
    I found the interlocking bitterness of Ayckbourn's play irritating and overly neat, and these people don't seem to belong to Paris or London or anywhere else, at least not anytime in the last 20 years.
    • 57 Metascore
    • 50 Andrew O'Hehir
    So stylized and slow-moving (even at a spare 75 minutes) that you may have trouble adapting to its hypnotic rhythms -- but if you can, there are sumptuous visual rewards to be found, plus the faintest emotional uptick right at the end.
    • 46 Metascore
    • 50 Andrew O'Hehir
    I'm not big on those Pauline Kael-style encomiums to great actors in mediocre material, but that's exactly what we've got here. Stevenson is so incandescent -- so funny, so vulnerable, so awkwardly sexy.
    • 54 Metascore
    • 50 Andrew O'Hehir
    This isn't a boring movie or a dishonest one. But it's a relentlessly literal-minded one, light on vision and atmosphere, that moves through the history of the Germs with a checklist.
    • 60 Metascore
    • 50 Andrew O'Hehir
    Gandini makes it seem as if the nation of Dante and Fellini has been conquered by "Girls Gone Wild." As hyperbolic cases go, that's a pretty delicious one, but it's not quite true yet.
    • 73 Metascore
    • 50 Andrew O'Hehir
    It's too convoluted by half, and turns what ought to be an idiosyncratic, delightful folktale-film into a baffling personal psychodrama with a nasty sting in its tale. Still, Breillat wouldn't be Breillat if she made movies that were easy to like, or to get your head around.
    • 57 Metascore
    • 50 Andrew O'Hehir
    Yes, yes, yes, Downey is blasé, intelligent and hilarious as Tony Stark -- what do you expect me to say? -- but I'm convinced that sticking with this character much longer won't be good for him.
    • 63 Metascore
    • 50 Andrew O'Hehir
    So some good acting and decent scares get entombed within too many dull postmodern iterations.
    • 55 Metascore
    • 50 Andrew O'Hehir
    A very mixed bag. Despite some faint gestures in the direction of journalistic balance, it plays a lot like a two-hour infomercial for the Playboy publisher's historical importance, philosophical depth and personal greatness.
    • 52 Metascore
    • 50 Andrew O'Hehir
    Taken on its own terms, it's a light, sweet, curiously enjoyable misfit romance, whose real star is not Aniston but her magnificently awkward Lothario, Jason Bateman.
    • 51 Metascore
    • 50 Andrew O'Hehir
    I don't mean that this movie is strikingly good or strikingly bad, in cosmic terms -- it's a solid but totally forgettable entertainment, redeemed somewhat by Barrymore's loud, horsey laugh and some agreeably racy comic situations.
    • 53 Metascore
    • 50 Andrew O'Hehir
    Paranormal Activity 2 suffers from the excessive expository blah-blah that's so common in horror-movie sequels.
    • 63 Metascore
    • 50 Andrew O'Hehir
    A very mixed bag. It's an oddly dry fusion of documentary and narrative film that arguably doesn't quite click on either level.
    • 61 Metascore
    • 50 Andrew O'Hehir
    Ultimately, though, it's a little schizo, like a depressed dude in a clown suit, or a Theodore Dreiser novel hopped up on not enough happy pills.
    • 51 Metascore
    • 50 Andrew O'Hehir
    An oddly listless and downbeat affair, setting these two beloved eccentrics adrift in a road movie that's rarely funny enough to connect as absurdist comedy and rarely compelling enough to work as recession-era male-bonding melodrama.
    • 53 Metascore
    • 50 Andrew O'Hehir
    It's difficult to make this mediocre adaptation of perhaps the best-loved book in C.S. Lewis' Narnia series -- seem particularly interesting.
    • 43 Metascore
    • 50 Andrew O'Hehir
    A middling little movie that tries to trespass on Bergman-Renoir territory and simply isn't adroit enough to pull it off, and because in its weaker moments it's overheated and silly.
    • 65 Metascore
    • 50 Andrew O'Hehir
    Made in Dagenham offers girl power in a can, lightly seasoned with swinging London and topped with cute-clumsy Sally Hawkins charming us to pieces. But the real women of Dagenham deserve better, and so do their sisters in the audience.
    • 45 Metascore
    • 50 Andrew O'Hehir
    It isn't the shifting narrative focus of Miral that's the problem, nor is it the purposefully provocative pro-Palestinian perspective. It's Jebreal's screenplay, which uses every scene as a vehicle for delivering news headlines or condensed political rhetoric, and seems incapable of capturing a specific emotion or an individual personality.
    • 43 Metascore
    • 50 Andrew O'Hehir
    Her (Taymore) interpretations and interpolations range from brilliant to indifferent to extremely silly; as Taymor surely knows, there's nothing especially revolutionary in asking Helen Mirren to play the central role of Prospera.
    • 37 Metascore
    • 50 Andrew O'Hehir
    This is a pale simulacrum of those high-style travel-porn thrillers of the '60s and '70s, which only serves to remind us that those aren't as easy to pull off as they look, and also that maybe they weren't so great in the first place.
    • 68 Metascore
    • 50 Andrew O'Hehir
    If Client 9 plays a lot like a murky, gripping political thriller, it lacks a fully satisfying ending -- or a fully satisfying hero.
    • 46 Metascore
    • 50 Andrew O'Hehir
    I'm not sure whether Howard and screenwriter Allan Loeb are to be commended for aspiring to something odd and original, or condemned for a result that's so messy and miscellaneous.
    • 50 Metascore
    • 50 Andrew O'Hehir
    But when people have sex in a movie -- that wasn't, you know, made in Hungary and meant to convince you that life is meaningless -- isn't it a good idea to make it seem kind of hot? Because on that score, No Strings Attached is a near-total failure.
    • 37 Metascore
    • 50 Andrew O'Hehir
    Reasonably effective.
    • 36 Metascore
    • 50 Andrew O'Hehir
    Misfires on multiple levels but isn't all that terrible.
    • 55 Metascore
    • 50 Andrew O'Hehir
    Bastardizes the source material to no good purpose, ending up with a strained combination of rah-rah, boy-bonding adventure and p.c. cross-cultural exploration.
    • 50 Metascore
    • 50 Andrew O'Hehir
    The movie never makes much of a case for its own existence; it's a mediocre western clumsily welded to a mediocre alien shoot-'em-up, and if you allow yourself to think about its treatment of history for as long as one second, you'll feel insulted.
    • 65 Metascore
    • 50 Andrew O'Hehir
    I was startled to look up the running time and discover that X-Men: First Class is only 104 minutes; the second half is so clunky it feels much longer.
    • 59 Metascore
    • 50 Andrew O'Hehir
    Mostly it's got a barely tolerable level of metaness.
    • 41 Metascore
    • 50 Andrew O'Hehir
    I'm not quite saying that the unabashed squareness and silliness of Larry Crowne are negatives. They're almost admirable in themselves, and certainly constitute a selling point.
    • 72 Metascore
    • 50 Andrew O'Hehir
    It's almost a great war movie in one direction, and almost a piece of irredeemable cheese in the other, and there you have it.
    • 50 Metascore
    • 50 Andrew O'Hehir
    It's a charming if conspicuously unfinished film, a half-riotous, half-idiotic send-up of the teen horror genre with a vaguely hip political twist.
    • 79 Metascore
    • 50 Andrew O'Hehir
    I felt like I'd been invited to a seven-course dinner, and all seven turned out to be cake – and then the host insisted on delivering a lecture about how cake would bring me closer to God.
    • 71 Metascore
    • 50 Andrew O'Hehir
    I really don't understand why anybody thinks the wispy, bittersweet tale of long-distance love in Like Crazy is any big deal. Seriously, I liked this movie better last year, when it had Drew Barrymore in it and was called "Going the Distance."
    • 51 Metascore
    • 50 Andrew O'Hehir
    If anything, Think Like a Man, the awkward but intermittently amusing black-centric ensemble film built out of comedian Steve Harvey's self-help bestseller "Act Like a Lady, Think Like a Man" deserves a gold star for its generous portrayals of Caucasians.
    • 44 Metascore
    • 50 Andrew O'Hehir
    Saying that Raimi’s trip to Oz is adequate eye candy with a good heart isn’t the same thing as saying it’s actually good. I was charmed at some moments, profoundly bored by others and almost never felt genuinely excited or emotionally engaged.
    • 58 Metascore
    • 50 Andrew O'Hehir
    I'm afraid that whoever it was in the New York Film Critics Circle who voted for The Hobbit as best animated film had a point. And so did the people who suspected that this whole thing was a bad idea.
    • 36 Metascore
    • 50 Andrew O'Hehir
    It's kind of fun to watch Pacino and Liotta and Tatum and James Ransone, as Jonathan's foulmouthed partner, as they roar at each other and suck the marrow from the hambone. You can see why actors want to work with Montiel, but actors are notoriously bad judges of whether good scenes will ever add up to a worthwhile movie, which is exactly the problem here.
    • 71 Metascore
    • 50 Andrew O'Hehir
    Humor is notoriously subjective, of course, but I didn't find Young Adult especially funny. It's an intermittently engaging fable of American homecoming that's both intentionally and unintentionally awkward, and flavored from bitter to sour all the way through.
    • 40 Metascore
    • 50 Andrew O'Hehir
    As a capable imitation of better movies by Martin Scorsese, Brian DePalma and Roman Polanski – it's reasonably successful entertainment.
    • 59 Metascore
    • 50 Andrew O'Hehir
    Warm Bodies is more a mild-mannered, emo-flavored romcom than a zombie movie. It has some tepid action scenes, a few swatches of genuine humor and a general spirit of cheerfulness, especially considering it depicts a future in which civilization has been destroyed.
    • 44 Metascore
    • 50 Andrew O'Hehir
    This is a really lively, fun and high-spirited comedy. If you leave after half an hour.
    • 83 Metascore
    • 50 Andrew O'Hehir
    Not far below the surface Captain Phillips is also an unpleasant and uncomfortable experience, a film that’s not entirely happy with itself.
    • 52 Metascore
    • 50 Andrew O'Hehir
    What we’re left with is a teen-oriented action flick with an A-minus cast, a mixture of “Transformers”-style robot battles and cops-and-robbers showdown that never feels all that exciting or cutting-edge, bracketed by some intriguing and half-successful moments of social commentary.
    • 67 Metascore
    • 50 Andrew O'Hehir
    It's mediocre and half-baked, with flashes of a potential good movie showing through here and there.
    • 67 Metascore
    • 50 Andrew O'Hehir
    I enjoyed the hell out of it for a while, but it got irritating and self-congratulatory long before it was over and I desperately do not want to see it again.
    • 76 Metascore
    • 50 Andrew O'Hehir
    Slowly but surely, Flight degenerates from a tale of moral paradox and wounded romance into a mid-1990s after-school special about addiction and recovery.
    • 35 Metascore
    • 50 Andrew O'Hehir
    It's kind of endearing and kind of asinine.
    • 60 Metascore
    • 50 Andrew O'Hehir
    What is the point of making a movie that’s just like the dopiest, broadest and most reductive grade of guy-oriented comedy, except with women?
    • 55 Metascore
    • 50 Andrew O'Hehir
    I'm not sure V/H/S is brilliant cinema or anything – indeed, I'm not sure it's appropriate to call it cinema at all – but it sure is an ingenious hybrid: part Godardian art film, part abstract video experiment, part sleazy shocker, and all self-castigating interrogation of what film-theory types call the "male gaze."
    • 68 Metascore
    • 50 Andrew O'Hehir
    As a ninth-generation descendant of Abigail Faulkner, a convicted Salem witch who only escaped execution because she was pregnant at the time, I call down a terrible malediction upon the people who made this entertaining but indefensible movie.
    • 43 Metascore
    • 50 Andrew O'Hehir
    Much of the argument Navarro assembles in Death by China is unassailable as to its basic facts, even if the tone and manner of presentation leave much to be desired.
    • 55 Metascore
    • 50 Andrew O'Hehir
    I’m being deliberately mean about a plot device that Curtis wants to come off as a goofy, harmless comic metaphor, but the idea that this implausible inherited trait is actually a cryptic, creepazoid form of domination over women is right there in the movie.
    • 48 Metascore
    • 50 Andrew O'Hehir
    The movie’s just too boring and middlebrow.
    • 71 Metascore
    • 50 Andrew O'Hehir
    I felt unable to decide between this movie is the most badass thing ever and OMG turn it off.
    • 33 Metascore
    • 50 Andrew O'Hehir
    I'm not sure whether to recommend The Baytown Outlaws as a guns 'n' glory time-waster or warn you off it as a piece of mendacious trash. So I'll do both.
    • 61 Metascore
    • 50 Andrew O'Hehir
    This is the kind of movie where most people know what they want and are pretty sure what they will get, that being “more of the same, please.”
    • 49 Metascore
    • 50 Andrew O'Hehir
    This movie isn’t terrible enough to derail the “Sherlock Holmes” star’s upward trajectory toward pop-culture domination, but Cumberbatch’s subtle and intriguing performance as the inscrutable Aussie loner behind WikiLeaks is surrounded by a plodding and minor melodrama that’s ludicrously ill suited to the material.
    • 78 Metascore
    • 50 Andrew O'Hehir
    The whole experience of watching casts of talented and over-eager actors try to make sense of his (Allen) nonsensical scripts becomes increasingly strained and bizarre. I’ve felt that way about recent Allen movies I mostly enjoyed, like “Midnight in Paris” and “Vicky Cristina Barcelona,” and it goes double or triple for Blue Jasmine.
    • 54 Metascore
    • 50 Andrew O'Hehir
    This movie feels a little half-baked to me in the sense that it carries an exceedingly complicated intellectual agenda below the surface of a conventional thriller, and doesn’t execute either level as well as it might.
    • 51 Metascore
    • 50 Andrew O'Hehir
    Seyfried’s performance is worth the price of admission. But Linda Lovelace deserved something more.
    • 47 Metascore
    • 50 Andrew O'Hehir
    This movie is bizarre, conflicted, unintentionally hilarious and profoundly mediocre – something like one of those based-on-a-true-story demonic possession yarns, with its polarities reversed – but not stupid in the way you’re probably thinking.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Schroeder isn’t much of a comic-strip expert or historian, by his own admission, so Dear Mr. Watterson bounces off many of the most interesting issues in and around “Calvin and Hobbes,” noticing them but not exploring them deeply.
    • 48 Metascore
    • 50 Andrew O'Hehir
    The Judge is watchable but thoroughly specious. It’s dull and reassuring, an infantile fantasy of homecoming and forgiveness set in a mythical version of America no one in the target audience has ever seen.
    • 68 Metascore
    • 50 Andrew O'Hehir
    Just a string of ludicrous excuses to get from one outrageous comedy set-piece to the next.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Million Dollar Arm is not just a Disney film, but a Disney film that could have been made, with minor elisions and different character names, in 1963.
    • 67 Metascore
    • 50 Andrew O'Hehir
    So the rhetorical strategy of The Armstrong Lie is both a strength and a weakness. Gibney’s films have always been about truth, lies and power, but for the first time he finds himself in the ambiguous philosophical terrain of Errol Morris, exploring the lies we tell ourselves.
    • 40 Metascore
    • 50 Andrew O'Hehir
    The film has an odd and striking energy, and the chemistry between Scodelario and Biel has an electrical charge to it. There are a couple of genuinely creepy moments, and Gregorini keeps us on an emotional knife edge.
    • 64 Metascore
    • 50 Andrew O'Hehir
    Murray, as always, supplies any number of small, memorable moments — he ultimately relies on the same defanged sentimentality.
    • 47 Metascore
    • 50 Andrew O'Hehir
    The initial setup for the story is engaging enough, but Noyce and cinematographer Ross Emery have shot the whole thing in generic digital fake black-and-white, so it looks like a late-‘90s TV commercial for a soon-to-be-recalled compact car.
    • 49 Metascore
    • 50 Andrew O'Hehir
    Viewed as cinema, it’s an unstable and almost surrealist combination of Soviet-style war propaganda film, Zack Snyder-style action flick and sentimental fairy tale.
    • 43 Metascore
    • 50 Andrew O'Hehir
    If you liked “Garden State” — or if you hated it, for that matter — you pretty much know what you’re in for with Wish I Was Here.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Mercifully, as seen from 11 years later, Jayson Blair himself seems a lot less important, not to mention a lot less interesting.
    • 68 Metascore
    • 40 Andrew O'Hehir
    A relentlessly gruesome, visually impressive and ultimately not very interesting movie with some pretensions to seriousness.
    • 64 Metascore
    • 40 Andrew O'Hehir
    For all its grandeur, Gladiator is a canned experience, a film that flails around awkwardly trying to find a reason to exist, or at least a compelling story to tell.
    • 69 Metascore
    • 40 Andrew O'Hehir
    Almost utterly defeated by its subject's sardonic stonewalling.
    • 41 Metascore
    • 40 Andrew O'Hehir
    Forster and Benioff are able craftsmen who apparently thought it might be interesting to seal themselves into a narrative box with no way out. Sorry about that, guys -- I hope it was a growth experience.
    • 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.
    • 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.
    • 29 Metascore
    • 40 Andrew O'Hehir
    Babbit is skilled at creating atmosphere and mood, all of it creepy or sodden, and actresses Elisha Cuthbert and Camilla Belle put their hearts into their roles, which are, unfortunately, encased in a sleazoid TV movie of the week tarted up in art-school clothes.
    • 75 Metascore
    • 40 Andrew O'Hehir
    It's an unholy mess, simultaneously too Gothic and too sarcastic, that preaches liberation and delivers only puritanism. It's a craftsmanlike but robotic imitation of "interesting" filmmaking, only in patches, and by accident, the real thing.
    • 49 Metascore
    • 40 Andrew O'Hehir
    There's a gloomy quality to The Good Night I sort of appreciated -- much of it was shot in London, although it's supposed to occur in New York -- but after the initial acerbic setup fades, Gary becomes less and less likable and the movie evaporates into nothing.
    • 61 Metascore
    • 40 Andrew O'Hehir
    What results is a patchy, uncertain motion picture, full of incidents and images but fundamentally unfocused and superficial.
    • 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.
    • 32 Metascore
    • 40 Andrew O'Hehir
    There's virtually no context provided here, about Lennon or the Beatles or New York or Chapman himself. To put it another way, the film's entire context IS Chapman.
    • 24 Metascore
    • 40 Andrew O'Hehir
    Even if the actual movie is an awkward, uncinematic mishmash. Waters has at least tried to write a sex comedy that isn't aimed at titty-fixated 17-year-olds, and at its best Sex and Death 101 has a fast, clever rhythm that almost sings.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Andrew O'Hehir
    Matsumoto isn't the first Japanese director to go all meta on the superhero tradition (consider also Takashi Miike's 2004 "Zebraman"), but this work of improbable lunacy may well max out the genre.
    • 54 Metascore
    • 40 Andrew O'Hehir
    Pontypool is something like a claustrophobic, locked-in-the-barn zombie movie, only almost without zombies.
    • 36 Metascore
    • 40 Andrew O'Hehir
    This film's dithering, handsome, morally ambivalent Hamlet, is a profoundly unsatisfactory character.
    • 57 Metascore
    • 40 Andrew O'Hehir
    Finally, at the risk of seeming provincial, why is it OK that some Canadian has made a movie set in Ireland with no Irish people among the principal cast?
    • 40 Metascore
    • 40 Andrew O'Hehir
    An intermittently engaging thriller.
    • 57 Metascore
    • 40 Andrew O'Hehir
    Whatever it is, it's simultaneously on speed and Quaaludes; I don't know if any movie this profoundly insane has been seen in general release since Antonia Bird's Gold Rush cannibal comedy "Ravenous."
    • 50 Metascore
    • 40 Andrew O'Hehir
    Robert De Niro and Frances McDormand almost rescue this lifeless, clichéd cop drama! Close isn't good enough!