For 1,270 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 10.1 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
Average review score: 69
Highest review score: 100 Kings & Queen
Lowest review score: 0 Identity Thief
Score distribution:
1,270 movie reviews
    • 97 Metascore
    • 100 Andrew O'Hehir
    Despite their terrible ordeal these women are heroes, not victims. As Mungiu makes clear in the casual, brilliant final scene of this amazing movie, heroes persevere.
    • 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.
    • 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.
    • 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.
    • 95 Metascore
    • 100 Andrew O'Hehir
    A sweeping and magnificent work of cinematic craft, by far the best film of Bigelow's career.
    • 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.
    • 94 Metascore
    • 80 Andrew O'Hehir
    It will disturb you as much as thrill you, make you wonder whether the boundaries between life and death, reality and fantasy, imagination and insanity are ever what they appear to be.
    • 94 Metascore
    • 80 Andrew O'Hehir
    In all honesty, Burnett's writing can be stiff and the acting in Killer of Sheep is indifferent. But the reason to see this film does not lie in the dialogue.
    • 94 Metascore
    • 90 Andrew O'Hehir
    I love Jackson's "Rings" saga despite his propensity for whimsical animation whenever he tries to strike a chord of dread or menace.
    • 94 Metascore
    • 100 Andrew O'Hehir
    It's a tremendously absorbing blend of history, journalism and drama. As soon as it was over, I wanted to watch it again.
    • 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.
    • 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.
    • 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.
    • 92 Metascore
    • 100 Andrew O'Hehir
    A bona fide summer delight loaded with action, humor, nostalgia, a veritable blizzard of pop-culture references and general good vibes.
    • 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.
    • 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.
    • 91 Metascore
    • 90 Andrew O'Hehir
    The results, in my judgment, are stunning...and at certain moments during the film I wondered whether I had myself fallen asleep and was dreaming its hellish, haunted images.
    • 91 Metascore
    • 90 Andrew O'Hehir
    It's the most ambitious and impressive Coen film in at least a decade, featuring the flat, sun-blasted landscapes of west Texas -- spectacularly shot by cinematographer Roger Deakins -- and an eerily memorable performance by Javier Bardem, in a Ringo Starr haircut.
    • 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.
    • 90 Metascore
    • 100 Andrew O'Hehir
    This movie's an absolute knockout. I know it's only June, but I'm damned if this isn't the breakthrough American film of the year.
    • 90 Metascore
    • 90 Andrew O'Hehir
    Her
    This is a handcrafted, passionate and sometimes impossibly beautiful film that argues for both the past and the future, with a poetic spirit that’s extremely rare in American cinema.
    • 90 Metascore
    • 100 Andrew O'Hehir
    Any way you slice it, it's a brave and brilliant act of defiance.
    • 90 Metascore
    • 80 Andrew O'Hehir
    It's a gleeful, nitrous-oxide high.
    • 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.
    • 90 Metascore
    • 80 Andrew O'Hehir
    In casting Jack Nicholson as the jaded Anglo-American journalist who abandons his previous life during a trip to Africa and adopts a dangerous new identity, Antonioni was working with a more powerful and charismatic actor than he has before or since. The result is something like a glamorous thriller or a disaster film in slow motion.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Speaking as one New Yorker who lived through 9/11 and saw this film with a packed house of natives at its Tribeca Film Festival premiere, I experienced Man on Wire as an almost mystical incantation.
    • 89 Metascore
    • 80 Andrew O'Hehir
    From the first frames of Charles Ferguson's No End in Sight, replaying some of the oddest and twitchiest podium performances of Donald Rumsfeld during those heady days of spring 2003, you may feel the crushing weight of an almost Sophoclean impending doom.
    • 89 Metascore
    • 80 Andrew O'Hehir
    Most of the movie's subterranean emotion is found in the unsettled relationship between Solo and William, and in the extraordinary performances by the two leading men.
    • 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]
    • 89 Metascore
    • 90 Andrew O'Hehir
    In the long and fraught history of Franco-American cultural relations, this movie is more than a peace offering; it's a loving, goofy, joyous French kiss.