Andrew O'Hehir

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For 1,484 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 8.1 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Trip
Lowest review score: 0 Identity Thief
Score distribution:
1484 movie reviews
    • 88 Metascore
    • 90 Andrew O'Hehir
    This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
    • 79 Metascore
    • 90 Andrew O'Hehir
    I can't imagine anyone not being both horrified and fascinated by Stanley Nelson's Jonestown: The Life and Death of People's Temple.
    • 79 Metascore
    • 90 Andrew O'Hehir
    A haunting and riveting work, unlike anything else you can see at the movies and as such an explicit challenge to the unambitious, anesthetic character of most contemporary cinema. But is it easy, or delightful, or fun? It is not.
    • 80 Metascore
    • 90 Andrew O'Hehir
    Dore does not gloss over the ideological excesses or internal quarrels of feminism, but more than anything else she captures the excitement of that era, the growing sense of solidarity as more and more women discovered that their dissatisfaction was not an individual matter.
    • 60 Metascore
    • 90 Andrew O'Hehir
    A masterful accomplishment...teems with its own sense of life, crackles with daring, walks the tightrope between satire and pathos with a rare assuredness.
    • 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.
    • 73 Metascore
    • 90 Andrew O'Hehir
    Both a wrenching journalistic exploration of real life and something close to great cinema.
    • 74 Metascore
    • 90 Andrew O'Hehir
    A wrenching, funny and wise little picture, with a diva-like junior star at its center.
    • 73 Metascore
    • 90 Andrew O'Hehir
    Most famously, Belafonte ignited immense controversy both within and without the black community by repeatedly suggesting that Colin Powell and Condoleezza Rice were the "house slaves" of the George W. Bush administration.
    • 67 Metascore
    • 90 Andrew O'Hehir
    It's a funny, strange, sad and wonderful picture, packed with delightful performances by Hollywood stars and made by a director with a startling facility for the form and an expansive cinematic imagination.
    • 76 Metascore
    • 90 Andrew O'Hehir
    For a loose-limbed spoof with no real plot, “What We Do in the Shadows” is startlingly effective at creating characters we care about, which testifies to the fact that Clement and Waititi have created a world with clear governing laws (albeit ridiculous ones) and never violate those parameters.
    • 84 Metascore
    • 90 Andrew O'Hehir
    Almost as exhilarating as it is depressing. Puiu's filmmaking technique is remarkable, and all the more so because it's almost invisible.
    • 79 Metascore
    • 90 Andrew O'Hehir
    Not only does this film gloriously fulfill the potential that Ira Sachs has tantalized movie-lovers with for years, it also help explains what took him so long. Out of lost love comes a terrific work of art; it's the oldest story in the world, but it always feels new when it's done right.
    • 61 Metascore
    • 90 Andrew O'Hehir
    Above all a cracking good yarn that earns its laughter, its wonder and its tears.
    • 60 Metascore
    • 90 Andrew O'Hehir
    I suppose the perfect ending to the chapter would be to report that The Beaver is a masterpiece. It isn't quite, but it does offer an astonishing and resonant performance by Gibson, who spends most of the movie playing two simultaneous characters, often in the same shot.
    • 78 Metascore
    • 90 Andrew O'Hehir
    What feels at first like a quiet, straightforward picture builds into one of the richest and most satisfying of the year so far, in any genre or any language.
    • 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.
    • 95 Metascore
    • 90 Andrew O'Hehir
    All I can say about Timberlake's performance as the thoroughly odious, desperately seductive, textbook-case metrosexual Parker is that he brings so much reptilian fun that he unbalances the movie, almost fatally.
    • 73 Metascore
    • 90 Andrew O'Hehir
    In the case of French actress and director Valérie Donzelli's striking and imaginative film Declaration of War, the autobiographical element is so strong that the movie's virtually a docudrama – but a dazzlingly strange docudrama with musical numbers, choreographed interludes and prodigious cinematic verve.
    • 91 Metascore
    • 90 Andrew O'Hehir
    It's a difficult film to follow and at 172 minutes is maybe a half-hour too long. But simply as a sensory experience The Fast Runner is amazing.
    • 81 Metascore
    • 90 Andrew O'Hehir
    It's a tremendous experience, whatever it is; the kind of thing supposed art-movie audiences used to tolerate and pretty much don't anymore.
    • 73 Metascore
    • 90 Andrew O'Hehir
    Gibney's immensely funny and sad new motion picture Gonzo: The Life and Work of Dr. Hunter S. Thompson -- the "Dr." was a mail-order divinity degree -- is principally intended to rehabilitate Thompson and introduce his work to a new audience.
    • 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.
    • 74 Metascore
    • 90 Andrew O'Hehir
    The resulting film is both beautiful and fascinating, and offers a thrilling travelogue through a spectacular landscape few of us will ever see first-hand.
    • 89 Metascore
    • 90 Andrew O'Hehir
    The Overnighters is a documentary about real people in a real place. This is both amazing and frustrating.
    • 71 Metascore
    • 90 Andrew O'Hehir
    A compact near-masterpiece that combines a slow-motion romantic comedy with a docudrama-style portrait of a remote, nomadic culture as it is gradually eroded by the tides of the 21st century.
    • 85 Metascore
    • 90 Andrew O'Hehir
    Junger and Hetherington take our conflicted ideas about war and its let's-make-a-man-out-of-you purpose and throw them in our faces, in a way "Hurt Locker" never does.
    • 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.
    • 52 Metascore
    • 90 Andrew O'Hehir
    The thing is, it works. Or at least it works for me. I left the theater convinced that House of Fools is Konchalovsky's best work in almost 20 years (which it is) and that it might be something close to a masterpiece.
    • 81 Metascore
    • 90 Andrew O'Hehir
    A gorgeous transcription of medieval decorative art and its themes into a contemporary animated narrative, one that should enthrall children older than 8 or so, along with the adults lucky enough to watch with them.

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