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 About Elly
Lowest review score: 0 The In Crowd
Score distribution:
1,422 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.”
    • 41 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 Andrew O'Hehir
    Murray, as always, supplies any number of small, memorable moments — he ultimately relies on the same defanged sentimentality.
    • 30 Metascore
    • 50 Andrew O'Hehir
    It’s a thoroughly incoherent, generally inane and surprisingly entertaining tale of witches and monsters and what legendary film critic Joe Bob Briggs calls “beast fu,” all set in a sub-Tolkien, sub-“Game of Thrones” pseudo-medieval universe.
    • 40 Metascore
    • 50 Andrew O'Hehir
    It has the kind of jumbled, pseudo-spectacular, overdecorated digital design that the eye and mind can’t really take in. Individual shots can be gorgeous, but there are just too damn many of them, and the overall experience is the visual equivalent of eating an entire wedding cake.
    • 46 Metascore
    • 50 Andrew O'Hehir
    I wouldn’t say that Taylor-Johnson has made a good movie from Fifty Shades of Grey, precisely. That’s asking too much. But she and Marcel have risen to the challenge of this bizarre cultural moment with an odd and memorable film.
    • 43 Metascore
    • 50 Andrew O'Hehir
    Considered as pure spectacle, San Andreas is gripping and effective.
    • 38 Metascore
    • 50 Andrew O'Hehir
    The ultra-tangled plotline of Terminator Genisys makes the rhythm of the action beats especially weird; we see the entire world nuked into rubble by the machine overlords really early in the movie, which makes it hard to get excited about a few buildings falling down later on.
    • 52 Metascore
    • 50 Andrew O'Hehir
    If anything, Boulevard is the apotheosis of Williams’ later career, not an anomaly. I wish I could tell you it was a better and more satisfying film, but even its odd, strangled and almost antique quality – it plays out like a well-intentioned Sundance drama from about 1986 – feels curiously appropriate.
    • 75 Metascore
    • 50 Andrew O'Hehir
    Trainwreck is not very good, but Schumer is frequently amazing in it. Officially, her fans will not be disappointed; not far below the surface, it’s a bummer.
    • 35 Metascore
    • 40 Andrew O'Hehir
    A wildly uneven and sloppily directed movie, full of clashing tones and undigested bits of superior films.
    • 42 Metascore
    • 40 Andrew O'Hehir
    Too jumbled to become the major pop hit it wants to be. But it's not an entirely bad film despite its lack of coherence. Horror aficionados and other midnight-movie fans shouldn't miss it.
    • 71 Metascore
    • 40 Andrew O'Hehir
    Mechanical plot that seems dull even before it laboriously clanks and screeches into motion.
    • 40 Metascore
    • 40 Andrew O'Hehir
    An intermittently engaging thriller.
    • 61 Metascore
    • 40 Andrew O'Hehir
    You're just sitting there, somewhere between mildly amused and fairly bored, watching the filmmakers squander Hollywood's most eccentric character actor and a lot of very fine specimens of the order Rodentia.
    • 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.

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