Andrew O'Hehir

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For 1,456 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 Middle of Nowhere
Lowest review score: 0 The In Crowd
Score distribution:
1456 movie reviews
    • 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.
    • 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.
    • 52 Metascore
    • 90 Andrew O'Hehir
    It's a tight, taut, expertly crafted thriller from a director to watch.
    • 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.
    • 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.
    • 68 Metascore
    • 90 Andrew O'Hehir
    Applause may present as gritty European realism, but the struggle inside Thea is almost theological in scale, and worthy of Milton or Kierkegaard.
    • 76 Metascore
    • 90 Andrew O'Hehir
    This is a solid, spellbinding drama based closely on real history, which along the way offers a not-so-subtle commentary on the diverse, immigrant-rich society of contemporary France.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Although Josh Olson's script was originally based on a graphic novel by John Wagner and Vince Locke, it has now unmistakably become a Cronenberg movie, and one of his finest.
    • 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.
    • 71 Metascore
    • 90 Andrew O'Hehir
    A gripping, mysterious use of no-budget cinema at its finest, and an intimate character study with surprising emotional power.
    • 94 Metascore
    • 90 Andrew O'Hehir
    Mr. Turner is a rich, ruthless and profoundly compassionate study of life and love and art, for those who find themselves on its wavelength, but it also presents itself as a challenge.
    • 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.
    • 84 Metascore
    • 90 Andrew O'Hehir
    May well be the most exciting documentary of the year so far. I guess it took a British director, David Sington, to capture the story of the dozen American men who walked on the moon -- the only human beings in our species history yet to visit another celestial body.
    • 72 Metascore
    • 90 Andrew O'Hehir
    If this actually were 1968, the pipe-smoking sophisticates of "Esquire" and "Playboy" would be proclaiming I Served the King of England a nettlesome masterpiece. For whatever good it does this film today, I'll stick my pipe in my mug and agree.
    • 79 Metascore
    • 90 Andrew O'Hehir
    A surprising, puzzling and in many ways brilliant work.
    • 57 Metascore
    • 90 Andrew O'Hehir
    Southpaw is a tremendous accomplishment of mainstream cinematic craft, a near-perfect match of director, material and star.
    • 76 Metascore
    • 90 Andrew O'Hehir
    A magical and supernally beautiful meditative drug-trip head-space picture (a full-fledged ZZM, q.v. above) for which all Euro-film masochists should rearrange their schedules. It'll be out on DVD soon, and that's great. But Garrel's films are almost never seen on the big screen, and this one's worth it.
    • 79 Metascore
    • 90 Andrew O'Hehir
    An imaginative and largely intact retelling of this gory, troubling, uniquely sweet and uniquely dark vampire tale.
    • 92 Metascore
    • 90 Andrew O'Hehir
    A tightly structured thriller with a brilliantly moody performance by Jeanne Moreau, and depending on your point of view, it's either one of the few genuine French noir films or an early entry in the New Wave.
    • 82 Metascore
    • 90 Andrew O'Hehir
    A remarkable accomplishment, a swirling, choral sea of humanity that forces us to confront that a man who does terrible things can also be a loving father who gives his infant daughter a bath.
    • 72 Metascore
    • 90 Andrew O'Hehir
    It's an expertly constructed thrill ride with wonderful atmosphere and tremendous good humor; if its heart of gold is artificial, that won't stop you from enjoying the heck out of it.
    • 78 Metascore
    • 90 Andrew O'Hehir
    You may feel lost or bewildered at times in 2046 (and I certainly did), and you may feel that Chow is suffering from self-inflicted wounds. But every new adventure with every new girl vibrates with possibility, and the filmmaking is so stunning that you may not care that this is less a movie with a plot and characters than a hermetically sealed universe of romantic regret.
    • 63 Metascore
    • 90 Andrew O'Hehir
    This bloody celebration finally gives the American Revolution the epic it deserves.
    • 89 Metascore
    • 90 Andrew O'Hehir
    Stop Making Sense is so beautifully choreographed that in some ways it's more like theater than a rock show. [Review of re-release]
    • 66 Metascore
    • 80 Andrew O'Hehir
    A potent and well-executed drama.
    • 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.
    • 80 Metascore
    • 80 Andrew O'Hehir
    Even these ludicrous notions illustrate the real point of Room 237, as I see it, which is that “The Shining” is a disturbing, complicated and highly unusual creation of pop cinema that works on many levels, and whose slow-acting toxin continues to spread through our cultural veins more than 30 years later.
    • 75 Metascore
    • 80 Andrew O'Hehir
    While "Ballplayer" is certainly unsettling, must-see viewing for baseball fans - a nonfiction follow-up to Anna Boden and Ryan Fleck's outstanding 2009 feature "Sugar" - it's a vibrant tale, alive with color and texture, that's far more than a sports movie.
    • 46 Metascore
    • 80 Andrew O'Hehir
    Though it definitely requires a strong stomach, Ravenous may be the best cannibal tragicomedy ever made.

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