Andrew O'Hehir
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For 1,317 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% 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: 69
Highest review score: 100 Winter's Bone
Lowest review score: 0 Identity Thief
Score distribution:
1,317 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 89 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.
    • 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.
    • 82 Metascore
    • 80 Andrew O'Hehir
    Frozen River isn't cinematically ambitious or formally adventurous, but it's built around powerful and nuanced performances by Leo, Upham and Charlie McDermott.
    • 79 Metascore
    • 80 Andrew O'Hehir
    I found this beautifully crafted movie to be frequently hilarious, consistently surprising and rigged with spring-loaded narrative bombs, from its opening scene to its devastating final shot.
    • 94 Metascore
    • 80 Andrew O'Hehir
    In all honesty, Burnett's writing can be stiff and the acting in Killer of Sheep is indifferent. But the reason to see this film does not lie in the dialogue.
    • 49 Metascore
    • 80 Andrew O'Hehir
    Taken as a whole, Antichrist is a gorgeous, mesmerizing construction, and almost every one of its frames shimmers with demented, imaginary life... It offers more proof, if we need any, that von Trier is one of the most accomplished cinema artists of our time, and also perhaps the most deeply trapped in his own head.
    • 89 Metascore
    • 80 Andrew O'Hehir
    From the first frames of Charles Ferguson's No End in Sight, replaying some of the oddest and twitchiest podium performances of Donald Rumsfeld during those heady days of spring 2003, you may feel the crushing weight of an almost Sophoclean impending doom.
    • 86 Metascore
    • 80 Andrew O'Hehir
    The real star of the film is not a person but a city, the vertiginous, exciting, massively overcrowded "maximum city" of Mumbai. On one hand, this environment of Dickensian, almost hallucinatory contrasts between rich and poor, good and evil feels perfect for Danny Boyle.
    • 82 Metascore
    • 80 Andrew O'Hehir
    An ingenious mixture of satire, dead-end suburban realism and gory vampire fantasy.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Most of the movie's subterranean emotion is found in the unsettled relationship between Solo and William, and in the extraordinary performances by the two leading men.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Speaking as one New Yorker who lived through 9/11 and saw this film with a packed house of natives at its Tribeca Film Festival premiere, I experienced Man on Wire as an almost mystical incantation.
    • 73 Metascore
    • 80 Andrew O'Hehir
    It's a movie on the Hollywood scale that has so much of the Asian spirit. It has drawn the Asian audience back to the movie theater.
    • 84 Metascore
    • 80 Andrew O'Hehir
    Ballast is an audacious and ambiguous debut from a filmmaker whose motives and aims are not as transparent as they seem.
    • 82 Metascore
    • 80 Andrew O'Hehir
    From the too-good-to-be-true desk comes this loving and hilarious portrait of Spinal Tap-esque Canadian metal band Anvil, who were briefly a hard-rock sensation in the early '80s (mainly for the song "Metal on Metal") and have been struggling along in total obscurity ever since.
    • 88 Metascore
    • 80 Andrew O'Hehir
    Polley captures the brisk, cheerful fascism of nursing-home existence with merciless clarity; if you've visited a parent or grandparent in one of those places, you may want to laugh and cry in the same moment.
    • 85 Metascore
    • 80 Andrew O'Hehir
    A thrilling ride and a sometimes dry, sometimes sweet comedy, but beneath all that is a humane and tragic view of life worthy of the greatest films. Even those without rubber monsters.
    • 71 Metascore
    • 80 Andrew O'Hehir
    It isn't going anywhere, but the journey is highly entertaining.
    • 76 Metascore
    • 80 Andrew O'Hehir
    Wood's film works, first and foremost, as a powerful character drama; it's not trying to teach historical or ideological lessons.
    • 50 Metascore
    • 80 Andrew O'Hehir
    Pretty much rocks.
    • 61 Metascore
    • 80 Andrew O'Hehir
    Completely deranged, and the portrait it paints of our beloved country depicts a dangerous place full of neurotics and obsessives. But lots of fun, with porn, booze, backyard barbecues and elaborate revenge schemes!
    • 64 Metascore
    • 80 Andrew O'Hehir
    Schizo is in its way a taut and exciting thriller.
    • 70 Metascore
    • 80 Andrew O'Hehir
    The best film in the alien attack, conspiracy theory, "Silence of the Lambs" rip-off, disgraced-cop drama, deranged circus wirewalker, anti-capitalist parable genre I've seen this year.