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 Black Swan
Lowest review score: 0 The In Crowd
Score distribution:
1,336 movie reviews
    • 72 Metascore
    • 90 Andrew O'Hehir
    Nasheed has traveled the world describing the Maldives as the Poland of global warming - meaning, of course, Poland in 1939. If his country cannot be saved from rising sea levels, he maintains, then there may be no saving Tokyo or Mumbai or New Orleans or New York.
    • 73 Metascore
    • 90 Andrew O'Hehir
    Most famously, Belafonte ignited immense controversy both within and without the black community by repeatedly suggesting that Colin Powell and Condoleezza Rice were the "house slaves" of the George W. Bush administration.
    • 76 Metascore
    • 90 Andrew O'Hehir
    A dazzling and delightful work of modernist animation, a classic movie romance and a hip-swinging, finger-popping tale of musical revolution, Chico & Rita is the first big serendipitous surprise of 2012.
    • 80 Metascore
    • 90 Andrew O'Hehir
    This is a rigorously crafted film steeped in the French tradition, but it's meant to be a sensual and emotional experience, not a verbal or analytical one. Most of all, it's a spectacular eyeful.
    • 74 Metascore
    • 90 Andrew O'Hehir
    You either like this kind of ambitious, brave, borderless experiment or you don't, and I think it's absolutely magical and tragic.
    • 73 Metascore
    • 90 Andrew O'Hehir
    Both a wrenching journalistic exploration of real life and something close to great cinema.
    • 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.
    • 80 Metascore
    • 90 Andrew O'Hehir
    A wonderful adventure film that's no less thrilling for its modest scale, and a film whose emotional power and intelligence sneak up on you.
    • 83 Metascore
    • 90 Andrew O'Hehir
    But at his best - and his new movie, The Day He Arrives, is among his very best - Hong offers a strange mixture of magic, mystery, rueful melodrama and dry comedy that's like absolutely nothing else.
    • 82 Metascore
    • 90 Andrew O'Hehir
    Fast-paced, often hilarious fun and involves an imaginative and deeply weird use of cutting-edge digital animation.
    • 84 Metascore
    • 90 Andrew O'Hehir
    It's a marvelously constructed personal journey, both wrenching and bittersweet, whose emotional ripple effects stay with you for days and weeks afterward.
    • 52 Metascore
    • 90 Andrew O'Hehir
    It's a tight, taut, expertly crafted thriller from a director to watch.
    • 76 Metascore
    • 90 Andrew O'Hehir
    With this sober, mournful, gorgeously mounted and marvelously acted drama, Miike connects himself to the greatest traditions of Japanese film and to the period of historical self-examination that followed the debacle of World War II. And he also crafts one hell of a fable of heroism.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Indeed, while the action-packed final act of The World’s End gets pretty formulaic (as it channels everything from “Invasion of the Body Snatchers” to “The Stepford Wives”), there’s ALMOST something serious at the core of this riotous comedy.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Klayman's riveting, vérité-style film captures this burly, bigger-than-life figure over the past three years, as his activism has heightened, his art has grown increasingly confrontational and he has deliberately blurred the distinction between aesthetics and politics.
    • 79 Metascore
    • 90 Andrew O'Hehir
    Not only does this film gloriously fulfill the potential that Ira Sachs has tantalized movie-lovers with for years, it also help explains what took him so long. Out of lost love comes a terrific work of art; it's the oldest story in the world, but it always feels new when it's done right.
    • 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.
    • 58 Metascore
    • 90 Andrew O'Hehir
    As with any other movie, it’s all a question of what attitude you carry into the theater, and whether you’re prepared to go where Malick wants to take you. All I can tell you is that once I surrendered to the ebb and flow of Lubezki’s images, the elegiac and almost anti-narrative mode, the sweet-sad blend of romance, eroticism and tragedy and the hypnotic score – which mixes contemporary electronic pop with Berlioz, Wagner, Tchaikovsky, Henryk Górecki and Arvo Pärt – I really never wanted it to stop.
    • 74 Metascore
    • 90 Andrew O'Hehir
    The resulting film is both beautiful and fascinating, and offers a thrilling travelogue through a spectacular landscape few of us will ever see first-hand.
    • 81 Metascore
    • 90 Andrew O'Hehir
    No
    A troubling, exhilarating and ingeniously realized film that’s part stirring political drama and part devilish media satire.
    • 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.
    • 82 Metascore
    • 90 Andrew O'Hehir
    Although Cutie and the Boxer is one of the most unsentimental and unstinting portraits of marriage ever brought to the screen, there’s considerable hopefulness and love in it, and it illustrates the adage that whatever you can survive will ultimately make you stronger.
    • 74 Metascore
    • 90 Andrew O'Hehir
    There’s even a shadowy hanger-on (played by novelist and journalist Jim Lewis) who may be a drug dealer or a CIA-NSA-type spook or both. That’s just one of the many ways that this profound, peculiar work of genius, this half-comic portrait of the present in embryo within the past, reverberates with hidden meanings and a questing intelligence.
    • 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.
    • 68 Metascore
    • 90 Andrew O'Hehir
    If this isn’t quite a great movie, it should be an immensely gratifying one for sci-fi fans tired of the conceptual overkill and general dumbness of “Prometheus” or “Star Trek Into Darkness.”
    • 77 Metascore
    • 90 Andrew O'Hehir
    And then would come this generous, spirited documentary, to capture one of the strangest and most inspiring of all family stories of tragedy and triumph that this crazy country has produced.
    • 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.
    • 73 Metascore
    • 90 Andrew O'Hehir
    On a more fundamental level this hilarious, disgusting, brilliant and circular psychotronic odyssey is a blast from the submerged past.
    • 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.
    • 83 Metascore
    • 90 Andrew O'Hehir
    Cowperthwaite builds a portrait of an intelligent but profoundly traumatized animal who was taken from his family in the North Atlantic as an infant, and has been driven to anger, resentment and perhaps psychosis after spending his life in a series of concrete swimming pools.