Andrew O'Hehir
Select another critic »
For 1,314 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 Dirty Pretty Things
Lowest review score: 0 Identity Thief
Score distribution:
1,314 movie reviews
    • 82 Metascore
    • 100 Andrew O'Hehir
    Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
    • 75 Metascore
    • 100 Andrew O'Hehir
    If it plays in any theaters beyond New York and Los Angeles, that'll probably come as a surprise to its distributor (the estimable Lorber Films). None of that diminishes the power and intensity of this claustrophobic mini-masterpiece of the Japanese antiwar tradition, which blends a B-movie aesthetic, brilliant use of montage and documentary elements and a scathing critique of nationalism and militarism.
    • 81 Metascore
    • 100 Andrew O'Hehir
    More broadly this is a resonant, vivid and finally heartbreaking tale about the universal difficulty of marriage and the endless self-delusion of the human condition, driven by a trio of amazing dramatic performances.
    • 86 Metascore
    • 100 Andrew O'Hehir
    A stereotype-shattering movie that's full of them, and one that may permanently change the way you think about violent crime in America.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Once you start to ride with the rapturous, gorgeous, digressive symphony of images and words and music in this film it's completely absorbing and unlike anything you've ever seen.
    • 95 Metascore
    • 100 Andrew O'Hehir
    Something close to a contemporary masterwork, and maybe the best foreign-language film of the year, right at the tail end.
    • 72 Metascore
    • 100 Andrew O'Hehir
    It's first and foremost a visual and sonic symphony, and a Dante-esque journey through a New York nightworld where words are mostly useless or worse.
    • 92 Metascore
    • 100 Andrew O'Hehir
    For my money, the 33-year-old Isaac – who was born in Guatemala, raised in Florida, and has been working his way toward stardom for years – gives the year’s breakout performance, and Inside Llewyn Davis is one of the Coens’ richest, strangest and most potent films.
    • 97 Metascore
    • 100 Andrew O'Hehir
    12 Years a Slave offers no false Hollywood catharsis along with its muted happy ending, because we’re not free from the curse of slavery yet. Looking at it, as it really was, is a start.
    • 83 Metascore
    • 100 Andrew O'Hehir
    You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
    • 95 Metascore
    • 100 Andrew O'Hehir
    A sweeping and magnificent work of cinematic craft, by far the best film of Bigelow's career.
    • 75 Metascore
    • 100 Andrew O'Hehir
    Easy Money may well be the crime film of the year, or the decade.
    • 90 Metascore
    • 100 Andrew O'Hehir
    Any way you slice it, it's a brave and brilliant act of defiance.
    • 68 Metascore
    • 100 Andrew O'Hehir
    Mythic, thrilling and brilliantly made motion picture.
    • 75 Metascore
    • 100 Andrew O'Hehir
    This is an elegant, powerfully emotional and courageous film, worth seeing entirely on its own artistic terms, and also for what it conveys about the complexity of African-American life and the resurgence of African-American cultural expression.
    • 87 Metascore
    • 100 Andrew O'Hehir
    A breakthrough movie after its own fashion, a mysterious existential thriller that's brilliantly acted and masterfully directed, without a second of wasted screen time.
    • 55 Metascore
    • 100 Andrew O'Hehir
    Its too-muchness is also the source of its power; I was absolutely never bored, and felt surprised when the movie ended. It's an amazing, baffling, thrilling and (for many, it would appear) irritating experience, and for my money the most beautiful and distinctive big-screen vision of the year.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Whatever moment of inspiration caused Spielberg to cast her (Sally Field) as Mary Todd Lincoln, it was sheer genius, because this is a role that demands bigness.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Whatever sense you make (or don't) of the spectacular, hallucinatory Holy Motors, it's the coolest and strangest movie of the year, and once it gets its druglike hooks in your brain, you'll never get them out again.
    • 73 Metascore
    • 100 Andrew O'Hehir
    One of the year's best films precisely because it can't be boiled down to a message or synopsis. It's an exercise in style that risks trashiness in search of transcendence, and it's a sizzling celebration of the power of music, the power of images, and the electric, destructive power of the human body.
    • 94 Metascore
    • 100 Andrew O'Hehir
    This is an unforgettable love story set at the close of day, as tragic and beautiful in its way as "Tristan und Isolde," and a portrait of the impossible beauty and fragility of life that will yield new experiences to every viewer and every viewing.
    • 78 Metascore
    • 100 Andrew O'Hehir
    If you have the patience to watch this film develop and unfold, like some bizarre night-blooming orchid, what you'll see is not just the last movie released in 2012, but possibly the most original of them all.
    • 80 Metascore
    • 100 Andrew O'Hehir
    Sweetgrass memorably captures a dying way of American life, a marvelously untrammeled American landscape and at least two animals — men and sheep — that despite their millennia-long domestic relationship still have a spark of wildness in them.
    • 75 Metascore
    • 100 Andrew O'Hehir
    This telling of the tale possesses enormous cinematic energy and a killer supporting cast full of hilarious delights.
    • 91 Metascore
    • 100 Andrew O'Hehir
    Sarah Polley’s Stories We Tell is two or maybe three dangerous kinds of movies all at the same time, and handled so brilliantly that the result is a transformative, unforgettable work of art.
    • 74 Metascore
    • 100 Andrew O'Hehir
    Visually ravishing, tonally commanding and built around magnetic performances by Rooney Mara and Casey Affleck as Bonnie-and-Clyde doomed lovers, Ain’t Them Bodies Saints is a tragic but not despairing tale of fatal romance set in the Texas hill country in the mid-1970s. It marks the arrival of an immense talent who will be new to most moviegoers – although Lowery is a well-known figure in the indie-film world – and it’s surely one of the best American films of the year.
    • 90 Metascore
    • 100 Andrew O'Hehir
    A work of tremendous confidence and dazzling showmanship that may just be a delirious movie-as-drug-high or may, if you choose to read it this way, contain a level of commentary about the nature of America and the illusioneering of Hollywood.
    • 69 Metascore
    • 100 Andrew O'Hehir
    I also understood that while this movie is deliberately constructed so that almost nobody will “get it” or like it – and I’m not sure how I feel about that perversity – it’s a masterpiece despite that, or because of that or just anyway.
    • 83 Metascore
    • 100 Andrew O'Hehir
    It’s so assured and accomplished, so rigorous on both a human and technical level, and so clearly driven by love for this harsh landscape and its hardened people, that I was entirely swept away by its characters and their story.
    • 88 Metascore
    • 100 Andrew O'Hehir
    It’s perhaps the first great love story of the 21st century that could belong only to this century.