For 1,300 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 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
Average review score: 69
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 0 Identity Thief
Score distribution:
1,300 movie reviews
    • 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.
    • 88 Metascore
    • 90 Andrew O'Hehir
    Offers an exquisite tour of the twilight zone between high school and the so-called real world, as well as between bohemian subculture and the even stranger culture of America at large.
    • 88 Metascore
    • 90 Andrew O'Hehir
    What makes Tulpan remarkable are the extended unbroken scenes, both dramatic and comic.
    • 88 Metascore
    • 90 Andrew O'Hehir
    The first Holocaust movie that's actually about another Holocaust movie, and in some peculiar way it brings us closer to the terror and tragedy of the original event.
    • 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.
    • 88 Metascore
    • 80 Andrew O'Hehir
    Polley captures the brisk, cheerful fascism of nursing-home existence with merciless clarity; if you've visited a parent or grandparent in one of those places, you may want to laugh and cry in the same moment.
    • 88 Metascore
    • 90 Andrew O'Hehir
    This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
    • 88 Metascore
    • 100 Andrew O'Hehir
    It might well be the most important film you see this year, and the most important documentary of this young century.
    • 88 Metascore
    • 90 Andrew O'Hehir
    It's a warm, richly funny and highly enjoyable human story that takes an intriguing sideways glance at a crucial period in 20th-century history.
    • 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.
    • 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.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest films of recent years.
    • 87 Metascore
    • 90 Andrew O'Hehir
    This film never feels like copycat Americana to me. Its vision of the bleak, ruined, urban-cum-rural landscape of Naples and environs is distinctively European and postmodern, redolent of the spiritual and physical desolation Antonioni captured so memorably in "Red Desert."
    • 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.
    • 87 Metascore
    • 100 Andrew O'Hehir
    One of the greatest of all Holocaust films.
    • 87 Metascore
    • 70 Andrew O'Hehir
    So ends this enormously important, and enormously extended, chapter of pop culture, with a combination of bang and whimper.
    • 87 Metascore
    • 70 Andrew O'Hehir
    Has a lot of integrity, both in visual and conceptual terms, and seamlessly blends entertainment and education.
    • 87 Metascore
    • 80 Andrew O'Hehir
    Herzog wants us to see a deluded nobility in this quest. Treadwell's flawed dreams were, in the end, all too human.
    • 87 Metascore
    • 80 Andrew O'Hehir
    A richly detailed and enjoyable American yarn.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Visually spectacular, with wide-screen cinematography from Nobuyasu Kita, impressive, full-scale sets and special effects and exhausting, immersive action scenes, 13 Assassins is pretty nearly the samurai classic it sets out to become.
    • 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.
    • 86 Metascore
    • 90 Andrew O'Hehir
    It's a fascinating film, full of drama, intrigue, tragedy and righteous indignation, but maybe its greatest accomplishment is to make you feel the death of one young man -- a truly independent thinker who hewed his own way through the world, in the finest American tradition -- as a great loss.
    • 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.
    • 86 Metascore
    • 80 Andrew O'Hehir
    The real star of the film is not a person but a city, the vertiginous, exciting, massively overcrowded "maximum city" of Mumbai. On one hand, this environment of Dickensian, almost hallucinatory contrasts between rich and poor, good and evil feels perfect for Danny Boyle.
    • 86 Metascore
    • 100 Andrew O'Hehir
    A work of loopy, original comic genius.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
    • 86 Metascore
    • 100 Andrew O'Hehir
    My first thought was: It's a temple, a church, a cathedral -- maybe the first one ever built -- and the better-known ones in Rome and Jerusalem and Istanbul are just later versions of the same thing.
    • 86 Metascore
    • 100 Andrew O'Hehir
    But the greatness of Chinatown, unappreciated by my adolescent self, lies not in its cynical view of the California dream (that's too easy) but in its fatalistic, even tragic conception of America and indeed of human nature.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Ten
    The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
    • 86 Metascore
    • 90 Andrew O'Hehir
    For all its flaws, In the Bedroom is an unusual accomplishment, a serious drama about violence and morality that plays out with a fatalistic intensity somewhere between Greek tragedy and film noir.