Andrew O'Hehir
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For 1,418 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 9.7 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Güeros
Lowest review score: 0 The Replacements
Score distribution:
1,418 movie reviews
    • 86 Metascore
    • 60 Andrew O'Hehir
    It remains a puzzling dream, vivid in detail and overly obvious in symbolism, fueled by half-digested lumps of malice and wonder.
    • 84 Metascore
    • 50 Andrew O'Hehir
    The evident strengths and laudable intentions of Before the Devil Knows You're Dead (and even the appeal of Marisa Tomei in her undies) are overwhelmed by an implausible plot verging on unintentional comedy and a panoply of Noo Yawk dirt-bag supporting characters who might've seemed awkward on a 1993 episode of "NYPD Blue."
    • 83 Metascore
    • 60 Andrew O'Hehir
    If Paranoid Park is mainly an accumulation of the signs and symbols and images inside Van Sant's own head, that's artistically legitimate. When he makes a feeble effort to connect Alex's plight to the Iraq war and the cultural climate of Bush-era America, I just don't buy it.
    • 83 Metascore
    • 50 Andrew O'Hehir
    Not far below the surface Captain Phillips is also an unpleasant and uncomfortable experience, a film that’s not entirely happy with itself.
    • 82 Metascore
    • 50 Andrew O'Hehir
    Amid the infoglut that surrounds us, Gibney's film feels too much like more noise. Is it telling the most important business story of our lifetimes, or is it just another fantastical yarn, crammed into the schedule after Scott and Laci Peterson, but before Charlemagne and the ancient Peruvian astronauts?
    • 79 Metascore
    • 40 Andrew O'Hehir
    Any film that begins with one of those fake-news montages, where snippets of genuine CNN footage are stitched together to concoct a feeling of semi-urgency around its hackneyed apocalypse, already sucks even before it gets started.
    • 79 Metascore
    • 50 Andrew O'Hehir
    I felt like I'd been invited to a seven-course dinner, and all seven turned out to be cake – and then the host insisted on delivering a lecture about how cake would bring me closer to God.
    • 78 Metascore
    • 50 Andrew O'Hehir
    You may find yourself spellbound or colossally irritated; it's a close call either way.
    • 78 Metascore
    • 50 Andrew O'Hehir
    The whole experience of watching casts of talented and over-eager actors try to make sense of his (Allen) nonsensical scripts becomes increasingly strained and bizarre. I’ve felt that way about recent Allen movies I mostly enjoyed, like “Midnight in Paris” and “Vicky Cristina Barcelona,” and it goes double or triple for Blue Jasmine.
    • 77 Metascore
    • 50 Andrew O'Hehir
    I found the interlocking bitterness of Ayckbourn's play irritating and overly neat, and these people don't seem to belong to Paris or London or anywhere else, at least not anytime in the last 20 years.
    • 76 Metascore
    • 50 Andrew O'Hehir
    Slowly but surely, Flight degenerates from a tale of moral paradox and wounded romance into a mid-1990s after-school special about addiction and recovery.
    • 76 Metascore
    • 60 Andrew O'Hehir
    Wild the movie has a curiously unsticky and unmemorable quality, as if it had melted along the journey, a Sierra Nevada snowball in the Mojave Desert. It has the same nearly invisible flaws as “Dallas Buyers Club,” Vallée’s last agreeable pop-anthropology fable of fall and redemption, but writ larger: It’s just that little bit prepackaged, it stands off from us a little too far. It wants us to feel, but not to feel anything dangerous.
    • 75 Metascore
    • 50 Andrew O'Hehir
    Trainwreck is not very good, but Schumer is frequently amazing in it. Officially, her fans will not be disappointed; not far below the surface, it’s a bummer.
    • 75 Metascore
    • 40 Andrew O'Hehir
    It's an unholy mess, simultaneously too Gothic and too sarcastic, that preaches liberation and delivers only puritanism. It's a craftsmanlike but robotic imitation of "interesting" filmmaking, only in patches, and by accident, the real thing.
    • 74 Metascore
    • 60 Andrew O'Hehir
    An endless battle scene in search of a movie. It's every bit as harrowing -- and also every bit as pointless and misguided -- as the botched military mission it depicts.
    • 74 Metascore
    • 40 Andrew O'Hehir
    For the most part "Inception" is a handsome, clever and grindingly self-serious boy-movie, shorn of imagination, libido, spirituality or emotional depth. Nolan establishes a fascinating world, loaded with trapdoors, symbols and hidden secrets, and then squanders the opportunity on an overpriced "Twilight Zone" episode.
    • 74 Metascore
    • 40 Andrew O'Hehir
    Given the debased standards of action cinema these days this might be enough to make The Town a hit. But almost everything else about the movie is badly off balance, starting with Affleck's decision to cast himself as the implacably sexy and good-hearted Doug.
    • 73 Metascore
    • 60 Andrew O'Hehir
    Wag the Dog is such a crisply delivered political satire, so packed full of wickedly amusing details and expertly modulated performances and with its heart so obviously in the right place that I really, truly wish I could tell you it was also a good movie.
    • 73 Metascore
    • 50 Andrew O'Hehir
    It's too convoluted by half, and turns what ought to be an idiosyncratic, delightful folktale-film into a baffling personal psychodrama with a nasty sting in its tale. Still, Breillat wouldn't be Breillat if she made movies that were easy to like, or to get your head around.
    • 73 Metascore
    • 50 Andrew O'Hehir
    Although his (Eastwood's) intentions are good, he simply isn't capable of the wry, wistful blend of humor and sadness this story desperately needs.
    • 73 Metascore
    • 60 Andrew O'Hehir
    Arguably, A Girl Cut in Two is more fun around the edges, as an assemblage of bizarre supporting characters and throwaway comic bits, than it is down the middle, as a classic French morality tale.
    • 72 Metascore
    • 50 Andrew O'Hehir
    It's almost a great war movie in one direction, and almost a piece of irredeemable cheese in the other, and there you have it.
    • 72 Metascore
    • 60 Andrew O'Hehir
    Sometimes a story – a true story, a fictional one or a hybrid of the two – is sufficiently powerful and intriguing that it can break through the formula and packaging around it. Such is almost but not quite the case with The Theory of Everything.
    • 72 Metascore
    • 60 Andrew O'Hehir
    Aided by witty and understated work from Baldwin and Stewart and the capable direction of Glatzer and Westmoreland, Moore does her utmost to pull Still Alice toward the realm of meaningful social drama. Let’s put it this way: It’s a way better movie than it ought to be, but not good enough to escape its pulpy, mendacious roots.
    • 72 Metascore
    • 60 Andrew O'Hehir
    Offers an intriguing, and profoundly frustrating, view of the New York underground hero whose 1962 erotic fantasy "Flaming Creatures" paved the way for Andy Warhol, John Waters, the "queer cinema" explosion and pretty much anybody who's ever made a movie starring his friends in weird Salvation Army outfits.
    • 72 Metascore
    • 60 Andrew O'Hehir
    In the end The Silence is more like an intriguing work of misdirection than a great crime film, but it has a dreamlike and disturbing undertow you won’t soon forget, and Odar is unquestionably a director to watch.
    • 71 Metascore
    • 60 Andrew O'Hehir
    22 Jump Street is the good-natured, sloppily rendered pile of balderdash for that moment, a movie that’s immune to all criticism and not worth bothering to dislike.
    • 71 Metascore
    • 40 Andrew O'Hehir
    Mechanical plot that seems dull even before it laboriously clanks and screeches into motion.
    • 71 Metascore
    • 60 Andrew O'Hehir
    Never quite establishes its own identity, and when you remember it in two years it's likely to be that movie you saw that you kind of liked with that girl in it, what's her name, from TV.
    • 71 Metascore
    • 50 Andrew O'Hehir
    I felt unable to decide between this movie is the most badass thing ever and OMG turn it off.

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