Andrew O'Hehir
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For 1,381 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 10 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Gangs of Wasseypur
Lowest review score: 0 The In Crowd
Score distribution:
1,381 movie reviews
    • 79 Metascore
    • 100 Andrew O'Hehir
    One of the best movies of the year.
    • 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."
    • 89 Metascore
    • 100 Andrew O'Hehir
    As a rich and exuberant character-driven crime saga in an idiom you absolutely have not encountered before, and a dense, unsentimental portrayal of the collision between democracy, capitalism and gangsterism on the frayed margins of the post-colonial world, Gangs of Wasseypur is a signal achievement in 21st-century cinema.
    • 90 Metascore
    • 100 Andrew O'Hehir
    It's a highly original film made in a familiar context, and an exciting moviegoing experience you shouldn't miss.
    • 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.
    • 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.
    • 84 Metascore
    • 100 Andrew O'Hehir
    Despite its clichéd elements, Dallas Buyers Club is a fierce celebration of the unpredictable power that belongs to the outcast, the despised, the pariah. That’s not a story of the ‘80s, it’s a story of always.
    • 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.
    • 81 Metascore
    • 100 Andrew O'Hehir
    Meryl Streep, Nicole Kidman and Julianne Moore bring dignity and Oscar-worthy performances to The Hours, a lovingly crafted meditation on death, loss and literature.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Winter Sleep belongs alongside “Boyhood” and “Inherent Vice” on the short list of the most powerful films of 2014. Calling a film “good” or “important” is subjective, of course, but this isn’t: All three are reaching for the kind of cinematic transcendence that exceeds language, that weaves together various art forms into an ascending spiral of meaning that cannot finally be captured or defined.
    • 68 Metascore
    • 100 Andrew O'Hehir
    Jones, as always, knows what he’s doing. In only his second feature as a director, the laconic 68-year-old star has made a wrenching, relentless and anti-heroic western that stands among the year’s most powerful American films. Not everyone will like The Homesman, but if you see it you won’t soon forget it.
    • 73 Metascore
    • 100 Andrew O'Hehir
    The most exciting action flick of the year, by a huge margin.
    • 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.
    • 82 Metascore
    • 100 Andrew O'Hehir
    You need to give Love Is Strange your eyes and ears and attention, let it work its effects on you gradually, like the lovely Chopin piano music that forms the spine of its soundtrack.
    • 67 Metascore
    • 100 Andrew O'Hehir
    A fascinating, mature, beautifully crafted work of art, from a director who continues to surprise us. Sofia Coppola has absorbed the Italian avant-garde more completely than her father ever did, and has made a film about celebrity in the vein of Antonioni and Bertolucci, a film about Hollywood in which she turns her back on it, possibly forever.
    • 83 Metascore
    • 90 Andrew O'Hehir
    Bruno Dumont's Hadewijch is one of two small-release art films this season that deliver nuanced and fascinating portraits of faith.
    • 66 Metascore
    • 90 Andrew O'Hehir
    Unmistaken Child stands above most others in offering us an intimate look at Tibetan Buddhism in action, with no external commentary or narration.
    • 70 Metascore
    • 90 Andrew O'Hehir
    One of the finest cops-and-robbers thrillers of recent years.
    • 88 Metascore
    • 90 Andrew O'Hehir
    It's simultaneously terrifying and hilarious, a full-on shotgun blast to the face of rediscovered 1970s weirdness, something like finding out that there's a classic Peckinpah film you've never seen, or that Wes Craven and Bernardo Bertolucci got drunk in Sydney one weekend and decided to make a movie together.
    • 83 Metascore
    • 90 Andrew O'Hehir
    Announces the arrival of a director radically out of step with the dominant conventions of American moviemaking, one who blends a social-realist vision and a passion for cinematic poetry.
    • 71 Metascore
    • 90 Andrew O'Hehir
    The cut-rate colossus didn't just ride the tide that sucked industrial jobs out of our towns and cities and spat out low-wage service-sector jobs in the sprawling exurbs -- it helped create it, and at the very least drastically accelerated it.
    • 71 Metascore
    • 90 Andrew O'Hehir
    What emerges is an astonishing debut, unlike anything else you'll see this year.
    • 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.
    • 55 Metascore
    • 90 Andrew O'Hehir
    It's the most original picture by an American director I've seen this year, and also the most delightful.
    • 70 Metascore
    • 90 Andrew O'Hehir
    It's also possible, I suppose, that a movie as deranged and grotesque and spectacular as Álex de la Iglesia's near-masterpiece The Last Circus, an overcooked allegory that's been dialed to 11 in all directions, simply doesn't appeal to you. But if you like your baroque sex and violence with a side dish of heavy-duty symbolism, and if the idea of an unholy collaboration between, say, Guillermo del Toro, Federico Fellini and William Castle appeals to you, then put The Last Circus on your must-see list right now.
    • 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.”
    • 73 Metascore
    • 90 Andrew O'Hehir
    I was thrilled and transported by it. It's a two-hour movie, and I'm only sorry it isn't two or three times as long.
    • 76 Metascore
    • 90 Andrew O'Hehir
    A big movie for the ages, full to the brim with sympathy, imagination and sheer visual delight.
    • 74 Metascore
    • 90 Andrew O'Hehir
    This story about Joyce McKinney, a one-time beauty queen who found herself not once but twice at the center of outrageous, tabloid-friendly news stories, is another of Morris' alternately hilarious and disturbing inquiries into the slippery nature of truth.
    • 81 Metascore
    • 90 Andrew O'Hehir
    A sad, sweet, funny and ultimately unforgettable love story about a man and a woman and a father and son, and also ranks among the most affectionate and sensitive portraits of homosexuality ever crafted by a straight person.

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