Andrew O'Hehir
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For 1,394 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 9.8 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 8MM
Score distribution:
1,394 movie reviews
    • 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.
    • 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.
    • 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.”
    • 83 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.
    • 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.
    • 68 Metascore
    • 90 Andrew O'Hehir
    I hope viewers don’t come away from this essential documentary with the belief that Western AIDS activists in general turned their backs on poor black people just as soon as they got medicine that worked. That isn’t remotely fair. Blame for the African AIDS holocaust falls on the Big Pharma companies who put patents and profits ahead of human life, and on all of us who let them get away with it.
    • 62 Metascore
    • 90 Andrew O'Hehir
    I’m saying that King has fearlessly forged into unexplored territory — that being the African-American stoner comedy, with an adult audience in view – and the results are profoundly hilarious, occasionally heartbreaking, often brilliant and entirely devoid of political piety.
    • 96 Metascore
    • 90 Andrew O'Hehir
    While the tension never lets up for a second, how you respond to the boundary-fudging and wildly improbable ending of Gravity – meaning both how it makes you feel and how you interpret it – will determine whether you think the movie is a genuine pop masterpiece or a canny artifice. Maybe there’s no difference.
    • 74 Metascore
    • 90 Andrew O'Hehir
    This gripping and grotesque portrait of retail politics in the Hawkeye State, entirely free of editorial commentary, locates truths about the contemporary Republican Party and our flawed electoral system that a more tendentious account never could.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 90 Andrew O'Hehir
    Fast-paced, often hilarious fun and involves an imaginative and deeply weird use of cutting-edge digital animation.
    • 75 Metascore
    • 90 Andrew O'Hehir
    If Alfred Hitchcock had grown up as a Palestinian, he might have made something like Hany Abu-Assad’s Oscar-nominated Omar, which is a tender love story, a haunting tragedy and an expertly crafted thriller with flawed, damaged and not entirely likable characters.
    • 83 Metascore
    • 90 Andrew O'Hehir
    A work of immense mystery and strangeness, loaded with unforgettable images, spectacular sweeps of color and nested, hidden meanings. It feels to me like a meditative epic about Japan’s traumatic journey into modernity, and a complicated allegory about the innocence, arrogance and culpability of artists. It’s one of the most beautiful animated films ever made, and something close to a masterpiece.
    • 88 Metascore
    • 90 Andrew O'Hehir
    This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss.
    • 91 Metascore
    • 90 Andrew O'Hehir
    Ida
    What makes Ida remarkable is how much Pawlikowski is able to accomplish in just 80 minutes, with a pair of mismatched female characters, a handful of wintry and desolate locations, the square-format cinematography of Ryszard Lenczewski and Lukasz Zal, and a soundtrack that combines modernism, Soviet-bloc pop music and a haunting performance of John Coltrane’s “Naima” that seems to capture all the emotional possibilities the characters cannot express.
    • 68 Metascore
    • 90 Andrew O'Hehir
    As a pure head-trip visual and auditory experience it feels like one of the biggest discoveries, and biggest surprises, of 2014.
    • 76 Metascore
    • 90 Andrew O'Hehir
    Horses of God is one of the most forceful entries in a growing body of cinema that interrogates the causes and effects of terrorism, nationalism and fundamentalism in the Arab world.
    • 62 Metascore
    • 90 Andrew O'Hehir
    This is a movie of tremendous visual daring, magnificent special-effects work and surprising moral gravity.
    • 77 Metascore
    • 90 Andrew O'Hehir
    McDonagh walks a hazardous tightrope from scene to scene, from amiable comedy to black-hearted farce to heartbreaking tragedy, often trying to strike all those notes within seconds. It doesn’t all work equally well, but the cumulative effect is powerful.
    • 69 Metascore
    • 90 Andrew O'Hehir
    I found this dark odyssey through an amoral dream Brooklyn curiously invigorating; it’s a masterful construction that held me rapt from first shot to last, that builds intense electrical energy and then releases it.
    • 83 Metascore
    • 90 Andrew O'Hehir
    For the most part, 20,000 Days on Earth – the approximate amount of time Cave has been alive on this planet – is an imagistic and impressionistic work, a Nick Cave-esque tone poem driven by moments of visual and thematic juxtaposition you either have to reject or accept.
    • 89 Metascore
    • 90 Andrew O'Hehir
    The Overnighters is a documentary about real people in a real place. This is both amazing and frustrating.
    • 88 Metascore
    • 90 Andrew O'Hehir
    Citizenfour is both an urgent tale torn from recent headlines and a compelling work of cinema, with all the paranoid density and abrupt changes of scenery of a John le Carré novel.
    • 87 Metascore
    • 90 Andrew O'Hehir
    Force Majeure is a prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere. This is very much a work of 21st-century global culture, but also one that draws on the great cinematic tradition of northern Europe, with hints of Ingmar Bergman, Eric Rohmer and Michael Haneke.
    • 76 Metascore
    • 90 Andrew O'Hehir
    Nightcrawler executes its ideas with tremendous craft and cool, and the courageous and counterintuitive pairing of its leads — Russo is 60, and Gyllenhaal 33 – produces two electrical, interlocking performances and undeniable erotic chemistry.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Foxcatcher is another strange and compelling anthropological drama from Miller, a director with evident expertise at enabling Oscar-worthy star performances.
    • 64 Metascore
    • 90 Andrew O'Hehir
    A penultimate chapter without a real ending, but it’s also a thrilling ride full of potent emotions, new characters and major twists of fate, built around another commanding star performance.

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