Andrew O'Hehir
Select another critic »
For 1,317 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 9.8 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Winter's Bone
Lowest review score: 0 Identity Thief
Score distribution:
1,317 movie reviews
    • 58 Metascore
    • 50 Andrew O'Hehir
    I'm afraid that whoever it was in the New York Film Critics Circle who voted for The Hobbit as best animated film had a point. And so did the people who suspected that this whole thing was a bad idea.
    • 58 Metascore
    • 70 Andrew O'Hehir
    Juliette Lewis makes Aurora Borealis into a funnier, richer, more powerful film than it has any reason to be.
    • 58 Metascore
    • 80 Andrew O'Hehir
    Loud, trashy, implausible and exciting, The Fast and the Furious may not have much of a brain, but it's definitely got a pulse.
    • 58 Metascore
    • 60 Andrew O'Hehir
    Disney World, in this incoherent but often amazing work of American psychodrama, has a lot in common with the Overlook Hotel of “The Shining,” the Venice of “Death in Venice” and the booze-soaked Cuernavaca of “Under the Volcano.” It’s a zone of existential dread, the place where masculine dreams go to die, the place where the unburied ghosts of civilization rise up like Mouse-eared, three-fingered zombies and bite us in the ass.
    • 57 Metascore
    • 70 Andrew O'Hehir
    I found it gorgeous, opaque and disturbing in roughly equal portions, but it was a riveting experience all the way through.
    • 57 Metascore
    • 70 Andrew O'Hehir
    Unsurprisingly, the camerawork in Lila Says is spectacular.
    • 57 Metascore
    • 60 Andrew O'Hehir
    This third-act redemption raises Towelhead several notches, but it still ends up feeling like a well-acted and well-intentioned after-school special, a long way from the vividness and texture of Ball's television work.
    • 57 Metascore
    • 40 Andrew O'Hehir
    The hit-to-miss gag ratio is atrocious, and we spend most of the movie hanging out with these borderline-agreeable characters, waiting for something to happen.
    • 57 Metascore
    • 30 Andrew O'Hehir
    Director Cook and screenwriter Anthony Frewin were both intimates of the real Kubrick, which I guess counts for something. But for what, exactly? Does it uniquely qualify them to make a mean-spirited, trashy and intermittently funny film about a guy who wasn't Kubrick?
    • 57 Metascore
    • 70 Andrew O'Hehir
    A deviously engineered parasite that'll crawl under your skin and live in your nervous system for a while if you give it half a chance.
    • 57 Metascore
    • 80 Andrew O'Hehir
    Alternately comic and terrifying, "Woman/Gun/Noodle" is a dazzling act of transliteration that may not require knowledge of the original film.
    • 57 Metascore
    • 80 Andrew O'Hehir
    Let me come clean right now and tell you that I enjoyed The Intouchables quite a bit. If you're looking for a lightweight summer change of pace, with just a smidgen of Continental flair, here it is.
    • 57 Metascore
    • 70 Andrew O'Hehir
    Branagh's completely at home in this kind of inflated family drama, of course, and the three guys yell, sulk and brood in their ridiculous costumes to fine effect.
    • 57 Metascore
    • 60 Andrew O'Hehir
    This is going to be a notorious film that young audiences will be daring themselves to see, but it's actually funnier, darker and more troubling before it turns into a carnival of repeated dismemberment.
    • 57 Metascore
    • 50 Andrew O'Hehir
    It's almost as lame-brained as any Hollywood blockbuster, if prettier and more pretentious.
    • 57 Metascore
    • 40 Andrew O'Hehir
    Finally, at the risk of seeming provincial, why is it OK that some Canadian has made a movie set in Ireland with no Irish people among the principal cast?
    • 57 Metascore
    • 60 Andrew O'Hehir
    Unlike most issue-oriented documentaries about the abundant idiocy of the human species and the imminent demise of our planet, Mark S. Hall's Sushi: The Global Catch offers foodies and sushi buffs a refreshing palate-cleanser before the parade of experts and the dire news reports.
    • 57 Metascore
    • 70 Andrew O'Hehir
    With its intelligence, compassion, human terror and sheer loveliness, Candy is a winner despite the well-worn path it treads.
    • 57 Metascore
    • 80 Andrew O'Hehir
    García, previously the director of "Mother and Child," "Passengers" and numerous TV episodes (and the son of Nobel laureate Gabriel García Márquez), never feels entirely comfortable with the period or location, but for all its limitations Albert Nobbs has a puzzling undertow, and gets more involving the longer you stick with it.
    • 57 Metascore
    • 50 Andrew O'Hehir
    So stylized and slow-moving (even at a spare 75 minutes) that you may have trouble adapting to its hypnotic rhythms -- but if you can, there are sumptuous visual rewards to be found, plus the faintest emotional uptick right at the end.
    • 57 Metascore
    • 50 Andrew O'Hehir
    If you liked "Rocky Balboa" you should be in good shape, since it's exactly the same movie, just aimed at a teeny-tiny-bit younger demographic and with an affectless leading man who avoids hambone acting by not acting at all.
    • 57 Metascore
    • 70 Andrew O'Hehir
    Sarin and Sonam also lift the veil on potentially explosive divisions within the Tibetan exile community, which is torn between spiritual and cultural loyalty to the Dalai Lama and a widespread longing for true independence. (The filmmakers clearly belong to the pro-independence camp.)
    • 57 Metascore
    • 50 Andrew O'Hehir
    Yes, yes, yes, Downey is blasé, intelligent and hilarious as Tony Stark -- what do you expect me to say? -- but I'm convinced that sticking with this character much longer won't be good for him.
    • 57 Metascore
    • 70 Andrew O'Hehir
    A fun, silly, kid-friendly summer popcorn entertainment.
    • 57 Metascore
    • 80 Andrew O'Hehir
    It almost continuously gets darker, funnier and edgier as it goes along.
    • 57 Metascore
    • 80 Andrew O'Hehir
    I resisted this derivative mishmash of classic fairytale and modern epic fantasy for as long as I could, but ultimately it swept me up into its geeky but manly embrace and carried me away on a white charger.
    • 57 Metascore
    • 70 Andrew O'Hehir
    This is a brash, lightweight backstage comedy that looks lovely, doesn't insult its audience and uses its stars, both young and old, to terrific effect.
    • 57 Metascore
    • 60 Andrew O'Hehir
    The Last Kiss is more a capable-craftsman film than a work of genuine dramatic insight, but here and there it opens a window onto the terror and wonder of grown-up life, one its characters don't especially want to look through.
    • 57 Metascore
    • 70 Andrew O'Hehir
    As inconsequential and virtually indistinguishable sub-Judd Apatow white-boy comedies fueled by prison-rape gags and pants-pissing anxiety around black people go, Horrible Bosses is pretty solid entertainment.
    • 57 Metascore
    • 60 Andrew O'Hehir
    Fundamentally, it's a well-executed formula movie, perfect for first-date couples or miscellaneous group outings.
    • 57 Metascore
    • 50 Andrew O'Hehir
    Million Dollar Arm is not just a Disney film, but a Disney film that could have been made, with minor elisions and different character names, in 1963.
    • 57 Metascore
    • 80 Andrew O'Hehir
    A marvelously compressed and immaculately constructed work.
    • 57 Metascore
    • 70 Andrew O'Hehir
    Rubberneck immediately put me in mind of the classic slow burn of vintage thrillers like Fritz Lang’s “M” and Michael Powell’s “Peeping Tom,” although Karpovsky and co-writer Garth Donovan have cited all kinds of other things, from “Michael Clayton” to “Caché” to “Fatal Attraction.”
    • 57 Metascore
    • 40 Andrew O'Hehir
    Whatever it is, it's simultaneously on speed and Quaaludes; I don't know if any movie this profoundly insane has been seen in general release since Antonia Bird's Gold Rush cannibal comedy "Ravenous."
    • 56 Metascore
    • 70 Andrew O'Hehir
    A memorable and outrageous movie, but one more likely to be remembered as a massive folly than a whopping success.
    • 56 Metascore
    • 60 Andrew O'Hehir
    That whole meta-biographical aspect doesn't bug me much because everybody who's ever written or directed a romantic comedy is drawing on their own emotional experience; this one's just a little more obvious about it.
    • 56 Metascore
    • 80 Andrew O'Hehir
    I enjoyed every moment of this densely plotted final chapter, and most other fans will too.
    • 56 Metascore
    • 70 Andrew O'Hehir
    A modest but agreeable, and often very funny, movie.
    • 56 Metascore
    • 80 Andrew O'Hehir
    Kostic, a Bosnian actor who has done quite a bit of British film and TV, and the Sarajevo-born beauty Marjanovic make a combustible screen couple, and Jolie knows it. Despite the film's generally somber tone, there's more than a hint of "Night Porter"-style perversity to their relationship, which at different times is platonic, therapeutic and highly erotic.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Deschanel is great, with her feral eyes and Joey Ramone shag haircut, and Ferrell is fantastic. This one's worth the effort to find.
    • 56 Metascore
    • 60 Andrew O'Hehir
    The second movie by "Being John Malkovich" writer Charlie Kaufman is even weirder than his first.
    • 56 Metascore
    • 30 Andrew O'Hehir
    His scattershot and ad hominem attacks against many different forms of religious hypocrisy don't add up to a coherent critique, and he's not qualified to provide one.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Beyond that educational element and the delicate performances of Dancy and Byrne, I found Adam dramatically limp, predictable and in a curious way even retrograde.
    • 56 Metascore
    • 50 Andrew O'Hehir
    It's an exceptionally well-made example of the kind of delirious, semi-Gothic, overcooked melodrama filmmakers from the Boot have long specialized in.
    • 56 Metascore
    • 60 Andrew O'Hehir
    Reygadas is an undeniably important artist hewing his own path, but who is also self-consciously playing to the tastes of a tiny elite audience that craves obscurantism, confrontation and heavy-handed symbolism. Still, I really want you to see this. Then I'll have somebody to talk about it with.
    • 56 Metascore
    • 100 Andrew O'Hehir
    A terrific comic-book movie, the most completely satisfying and unsettling one I've ever seen.
    • 56 Metascore
    • 80 Andrew O'Hehir
    Make no mistake, this movie is a mess. But, wow, what a mess! It's an exploding piñata, full of low comedy and high drama, deliriously colorful fight scenes and vehicle chases.
    • 56 Metascore
    • 50 Andrew O'Hehir
    In addition to possessing the most confusing title of the year, Canadian filmmaker Michael Dowse's high-energy dance-club saga It's All Gone Pete Tong arrives in an elaborate package of spoof and deception that should win the admiration of any practical-joke connoisseur.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Some of the knife-twisting later scenes in "Don't Be Afraid of the Dark" feel almost campy, like winks at the audience or studious self-referentiality. None of this is quite enough to ruin a gripping, gruesome fable, which of course del Toro's fans and other genre buffs will rush out to see, but it does render the movie a minor muddle rather than a horror masterwork.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Sloppy but cheerful documentary.
    • 56 Metascore
    • 90 Andrew O'Hehir
    A stylish and muscular thriller with some nifty twists and turns, a wicked sense of humor, several terrific performances and not one or even two but three of the best car chases in recent action-flick history.
    • 56 Metascore
    • 70 Andrew O'Hehir
    The Rum Diary is enjoyable enough, after its digressive, episodic and voyeuristic fashion. But neither Depp nor Robinson seems quite aware that Thompson's story - both in terms of his brief career in Puerto Rico and in terms of his life - was at least as much a story of tragedy and self-immolation as it was of genius.
    • 56 Metascore
    • 40 Andrew O'Hehir
    A movie that opens with a sensational bang and then proceeds to pursue the Big Questions about life and death in lovely, lugubrious and increasingly off-putting fashion, until all its drama has been frittered away in a dreamy, drifty haze.
    • 56 Metascore
    • 30 Andrew O'Hehir
    A movie that's laughable without, alas, even being enjoyably awful.
    • 56 Metascore
    • 60 Andrew O'Hehir
    In its quest to create "wholesome" entertainment, the movie industry is furiously turning back the clock four decades or so, to the days when men were men, girls were cute but knew their place and pencil-necked Poindexters stayed out of your damn face.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Whatever its flaws, Maleficent is a family-friendly Disney adventure that offers a relaunched and thoroughly delightful Angelina Jolie.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Carell's performance as Barry, is nothing short of magnificent.
    • 56 Metascore
    • 70 Andrew O'Hehir
    Shifting his focus away from white kids seems to have done Clark good, because Wassup Rockers is the least sensationalistic, and hence the least moralistic, of his films. It's an enjoyable if haphazard picaresque.
    • 56 Metascore
    • 70 Andrew O'Hehir
    You'll either find The Extra Man utterly charming or thoroughly mystifying, but either way Kevin Kline, playing a community-theater version of himself, with all the foppishness and Shakespearean pretension but half the talent and none of the luck, inhabits its peculiar soul.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Mercifully, as seen from 11 years later, Jayson Blair himself seems a lot less important, not to mention a lot less interesting.
    • 55 Metascore
    • 80 Andrew O'Hehir
    Almodóvar isn’t just flashing back, retro-style, to the era of “Pepi, Luci, Bom” and “What Have I Done to Deserve This?” He’s also returning to a core principle of that era and of his work, which is that human sexuality, as much as it drives us crazy and makes us do stupid things, is also a force for the liberation of the human soul.
    • 55 Metascore
    • 20 Andrew O'Hehir
    I felt like dropping to my knees in the theater and praying for this smug, irritating fake-reality-TV show to go away, leaving these three terrific actors (and characters) in something resembling a real movie.
    • 55 Metascore
    • 40 Andrew O'Hehir
    Despite looking, feeling and (especially) sounding expensive – this is one of the loudest summer spectacles of recent years – Man of Steel is second-tier and third-generation Chris Nolan-flavored neo-superhero material.
    • 55 Metascore
    • 60 Andrew O'Hehir
    If Christensen's conventional plot is somewhat at odds with her downbeat realism, the idea that these characters are willing to fight like cats and dogs, and destroy each other and themselves, to avoid confronting their intense attraction to each other is totally convincing.
    • 55 Metascore
    • 60 Andrew O'Hehir
    Yes
    For the most part Yes buzzes with visual life and imagination.
    • 55 Metascore
    • 50 Andrew O'Hehir
    Bastardizes the source material to no good purpose, ending up with a strained combination of rah-rah, boy-bonding adventure and p.c. cross-cultural exploration.
    • 55 Metascore
    • 50 Andrew O'Hehir
    High-style goofballing and globetrotting can get you pretty far, but maybe not as far as Johnson wants us to go.
    • 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.
    • 55 Metascore
    • 50 Andrew O'Hehir
    A very mixed bag. Despite some faint gestures in the direction of journalistic balance, it plays a lot like a two-hour infomercial for the Playboy publisher's historical importance, philosophical depth and personal greatness.
    • 55 Metascore
    • 80 Andrew O'Hehir
    Dark Shadows offers potent atmosphere and delirious '70s fashions and hilarious gags and some really terrific performances, none better than Pfeiffer's triumphant return to the screen as a pitch-perfect family matriarch.
    • 55 Metascore
    • 60 Andrew O'Hehir
    It's a perfectly cheerful time at the movies, without any hint of drama or surprise.
    • 55 Metascore
    • 20 Andrew O'Hehir
    Disposable crap.
    • 55 Metascore
    • 80 Andrew O'Hehir
    If "Cocaine Cowboys" was an epic, ironic yarn of murder and madness and the building of a boomtown built largely on drug money, Square Groupers is a more rueful tale.
    • 55 Metascore
    • 50 Andrew O'Hehir
    I'm not sure V/H/S is brilliant cinema or anything – indeed, I'm not sure it's appropriate to call it cinema at all – but it sure is an ingenious hybrid: part Godardian art film, part abstract video experiment, part sleazy shocker, and all self-castigating interrogation of what film-theory types call the "male gaze."
    • 55 Metascore
    • 60 Andrew O'Hehir
    As utterly disastrous movies go, this one's really got something.
    • 55 Metascore
    • 70 Andrew O'Hehir
    2 Guns is both enjoyable trash and a fascinating snapshot of Hollywood’s current mentality when it comes to the United States government.
    • 55 Metascore
    • 50 Andrew O'Hehir
    I’m being deliberately mean about a plot device that Curtis wants to come off as a goofy, harmless comic metaphor, but the idea that this implausible inherited trait is actually a cryptic, creepazoid form of domination over women is right there in the movie.
    • 55 Metascore
    • 90 Andrew O'Hehir
    Safe is both a slavish imitation of cinema gone by and a movie for our time. I found it wickedly entertaining and perversely refreshing in its total lack of contemporary piety.
    • 55 Metascore
    • 80 Andrew O'Hehir
    Hellion offers a startling and memorable portrait of adolescent life in downscale East Texas suburbia, along with a white-hot breakthrough performance from teenage actor Josh Wiggins.
    • 55 Metascore
    • 70 Andrew O'Hehir
    It honestly shouldn't work at all, yet somehow on the strength of good humor and sex appeal ends up being one of the most enjoyable mainstream films of the season.
    • 55 Metascore
    • 80 Andrew O'Hehir
    Once you get past the question of why someone would make a movie this artificial in the first place and move on to the answer (purely for the hell of it), Sukiyaki Western Django is a blood-drenched, dynamite, often hilarious and uniquely weird big-screen entertainment.
    • 55 Metascore
    • 70 Andrew O'Hehir
    Offers a mesmerizing, behind-the-music glimpse at a crucial and bizarre moment in rock history, and maybe in American cultural history, period.
    • 55 Metascore
    • 60 Andrew O'Hehir
    The resulting film directed by Scott Hicks is afflicted by terminal nostalgic drift. You come out of the theater with nothing more specific than half-pleasant memories of baseball gloves, Ferris wheels and vintage automobiles. I've had naps that were more exciting.
    • 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.
    • 55 Metascore
    • 70 Andrew O'Hehir
    I admired the humor, the tremendous craftsmanship and even the shock value of Hostel, but found the Grand Guignol torture scenes excessive. (Unless you're a hardcore fan of Italian, Spanish and Japanese gore flicks, you've never seen anything like this.)
    • 55 Metascore
    • 70 Andrew O'Hehir
    Brandon Cronenberg clearly understands that he has to deal with the legacy of his last name, and Antiviral feels to me like a perverse act of exorcism, half tribute and half cleansing ritual.
    • 55 Metascore
    • 80 Andrew O'Hehir
    Like last year's "American Pie," Road Trip crisply delivers the goods: vaguely rakish heroes, vaguely kinky sex and highly naked nubiles.
    • 55 Metascore
    • 40 Andrew O'Hehir
    Whether or not Luhrmann’s “Gatsby” will go down in history as a legendary flop is not for me to judge (though all signs currently point toward yes), but it surely belongs to the category of baroque, overblown, megalomaniacal spectacles dubbed “film follies” by longtime Nation film critic Stuart Klawans.
    • 54 Metascore
    • 80 Andrew O'Hehir
    It's blissfully, pants-wettingly funny from beginning to end.
    • 54 Metascore
    • 50 Andrew O'Hehir
    This movie feels a little half-baked to me in the sense that it carries an exceedingly complicated intellectual agenda below the surface of a conventional thriller, and doesn’t execute either level as well as it might.
    • 54 Metascore
    • 80 Andrew O'Hehir
    This is Gondry at his most liberated and inventive. You simply can’t grab hold of Mood Indigo in its early scenes, and you’re better off surrendering to its crackpot energy and enjoying the ride.
    • 54 Metascore
    • 70 Andrew O'Hehir
    It’s a highly capable sequel that drinks long and deep from the established Marvel legendarium and brings back all the key players from Kenneth Branagh’s 2011 hit “Thor.”
    • 54 Metascore
    • 40 Andrew O'Hehir
    So to call this a good movie is really a stretch; it's more like 38 percent of a good movie. But it probably has just enough dumb fun and pointless violence and car chases to seem like a highly viable option for large numbers of people this weekend.
    • 54 Metascore
    • 60 Andrew O'Hehir
    The singer Pink, also known as Alecia Moore, here plays Dede, one of the group’s only female members, and the connection between Dede and Neil, which at first stretches credibility to the breaking point, may be the best thing about “Thanks for Sharing.”
    • 54 Metascore
    • 80 Andrew O'Hehir
    When it comes to any larger questions about what was lost or gained, and whether Frankie Valli’s odyssey was worth it, Eastwood throws up his hands. Who knows? He’s made a thoroughly tolerable and non-insulting summer movie for grown-ups; isn’t that enough?
    • 54 Metascore
    • 80 Andrew O'Hehir
    Ror me its heartbreaking denouement – with shades of a Raymond Carver or William Kennedy ending – packed a prodigious emotional wallop.
    • 54 Metascore
    • 40 Andrew O'Hehir
    Pontypool is something like a claustrophobic, locked-in-the-barn zombie movie, only almost without zombies.
    • 54 Metascore
    • 40 Andrew O'Hehir
    Maybe that pictorial pleasantness will distract summer moviegoers from the fact that shot-to-shot transitions are often awkward, dialogue scenes are forced and poorly staged and that even by rom-com standards the obstacles created to keep Sophie and Stanley apart until a respectable running time has elapsed are idiotic.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Puccini for Beginners may divide individual audience members. It divided me; rarely have I seen a film simultaneously so good and so bad.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Schroeder isn’t much of a comic-strip expert or historian, by his own admission, so Dear Mr. Watterson bounces off many of the most interesting issues in and around “Calvin and Hobbes,” noticing them but not exploring them deeply.
    • 54 Metascore
    • 50 Andrew O'Hehir
    Whole New Thing comes unglued toward the end, spiraling into melodrama without ever escaping its whiny, indie-rock soundtrack.
    • 54 Metascore
    • 70 Andrew O'Hehir
    A luminous picture, beautifully made, loaded with symbolism and mystical-religious imagery, about an artist's self-destructive quest for an unreachable grail. It's also a deliberately prurient spectacle designed to be arousing and troubling -- most viewers, I imagine, will have both reactions at various times (and maybe at the same time).
    • 54 Metascore
    • 70 Andrew O'Hehir
    Maggie Thatcher contains multitudes; she is rife with contradictions you can barely glimpse in this modestly affecting movie.
    • 54 Metascore
    • 80 Andrew O'Hehir
    Oblivion is a technical triumph rather than a philosophical breakthrough, demonstrating how beautifully digital effects can be blended with real people and real sets, demonstrating that neither Tom Cruise nor the 1970s will ever die, and announcing the unexpected arrival of a major science-fiction director.
    • 54 Metascore
    • 70 Andrew O'Hehir
    As crafty and compelling as Aaron Aites and Audrey Ewell's Until the Light Takes Us is, it may go too far in its understandable desire to correct the bias and prejudice of mainstream journalism.
    • 54 Metascore
    • 50 Andrew O'Hehir
    This isn't a boring movie or a dishonest one. But it's a relentlessly literal-minded one, light on vision and atmosphere, that moves through the history of the Germs with a checklist.
    • 54 Metascore
    • 70 Andrew O'Hehir
    A dark, sweet and sophisticated confection.
    • 53 Metascore
    • 50 Andrew O'Hehir
    Paranormal Activity 2 suffers from the excessive expository blah-blah that's so common in horror-movie sequels.
    • 53 Metascore
    • 70 Andrew O'Hehir
    Despite its abundant flaws and historical howlers and generally dimwitted tone, Robin Hood is a surprisingly enjoyable work of popcorn cinema, if you're willing to take it on its own terms.
    • 53 Metascore
    • 70 Andrew O'Hehir
    Not many documentaries about poverty in the developing world are so hopeful; you can't help wondering what Brabbée's camera will find among the Bachara in another decade.
    • 53 Metascore
    • 70 Andrew O'Hehir
    Much of Devil's Rejects is absolutely hilarious, especially the brief appearance by a Gene Shalit-like film critic who explicates all the Groucho Marx references. Zombie's eye for the faux-'70s detail is perfect.
    • 53 Metascore
    • 60 Andrew O'Hehir
    The 76-year-old Zeffirelli will make many more movies, but Tea With Mussolini has the unmistakable feeling of a personal testament. Its sunny disposition and modest wit are well-suited to the genial temper of this born entertainer.
    • 53 Metascore
    • 70 Andrew O'Hehir
    Honestly, one can only wish that Hollywood made movies for non-teenagers and non-comics fans with this much care and reverence. Are superhero movies dying? Well sure, but you and I and the planet may die first.
    • 53 Metascore
    • 20 Andrew O'Hehir
    I've never seen anything crazier than Palindromes. You can read that as praise if you're that sort of person, but I don't mean it that way.
    • 53 Metascore
    • 60 Andrew O'Hehir
    Après Vous offers nice sound design and an unfussy presentation of middle-class Paris. It comes and goes with no unpleasant aftertaste.
    • 53 Metascore
    • 50 Andrew O'Hehir
    It's difficult to make this mediocre adaptation of perhaps the best-loved book in C.S. Lewis' Narnia series -- seem particularly interesting.
    • 53 Metascore
    • 80 Andrew O'Hehir
    This is spectacle cinema made with individual flair; maybe someone in Hollywood will notice that it's still possible.
    • 53 Metascore
    • 70 Andrew O'Hehir
    An entertaining diversion, mostly because Rossellini and Hurt are a pair of seasoned and graceful pros who know how to work every line and every gesture, and it's great to see them playing characters who are exactly their age.
    • 53 Metascore
    • 70 Andrew O'Hehir
    There's no story beyond the utterly formulaic and not the slightest semblance of realism, but your kids will enjoy it if they're young enough and pretty easy to please.
    • 53 Metascore
    • 50 Andrew O'Hehir
    This is one of those movies destined to be watched by family groups who can't agree on what to see: You'll all get a few chuckles, and then it's home for dessert.
    • 53 Metascore
    • 70 Andrew O'Hehir
    Winterbottom's adaptation of the novel is spellbinding cinema, with all the atmosphere, technical excellence and expert pacing the British director is known for.
    • 53 Metascore
    • 80 Andrew O'Hehir
    Is this an "indie" film with a deliberately messed-up chronology and an ambitious narrative you'll appreciate even more the second time through? Yes. Is this a deliberately trashy horror-comedy with a few decent jolts and several big laughs, best viewed with a gang of friends and a consciousness-altering agent of your choosing, parasitical or not? That too.
    • 53 Metascore
    • 70 Andrew O'Hehir
    So, yeah - even if In Time descends from its gripping and thought-provoking premise into a mediocre chase thriller before it's over, it's still pretty damn satisfying to watch in the current climate.
    • 52 Metascore
    • 30 Andrew O'Hehir
    A pallid, mediocre tale that treacles its way through well-worn channels.
    • 52 Metascore
    • 60 Andrew O'Hehir
    Brian De Palma's Redacted doesn't quite work as a movie. But it works as SOMETHING.
    • 52 Metascore
    • 60 Andrew O'Hehir
    This piece of midsummer madness is undeniably silly and delusional, a dire political fable told as tongue-in-cheek pastiche.
    • 52 Metascore
    • 80 Andrew O'Hehir
    It's an intensely crafted and genuinely memorable horror film from a striking new talent.
    • 52 Metascore
    • 60 Andrew O'Hehir
    LUV
    Both for good and for ill, LUV has a film-school feeling about it, and channels a legacy of fatalistic American crime cinema that includes "Mean Streets" and "Treasure of the Sierra Madre."
    • 52 Metascore
    • 50 Andrew O'Hehir
    Wild Side is sometimes maddening to watch, but will haunt you for days afterward.
    • 52 Metascore
    • 50 Andrew O'Hehir
    Taken on its own terms, it's a light, sweet, curiously enjoyable misfit romance, whose real star is not Aniston but her magnificently awkward Lothario, Jason Bateman.
    • 52 Metascore
    • 60 Andrew O'Hehir
    Citizen Koch is kind of a mess. But it’s a mess well worth discovering for yourself.
    • 52 Metascore
    • 90 Andrew O'Hehir
    It's a tight, taut, expertly crafted thriller from a director to watch.
    • 52 Metascore
    • 80 Andrew O'Hehir
    [Rec] 2 is a pell-mell, edge-of-your-seat, theme-park ride through hell, and I strongly advise you to ignore the aspersions cast upon it by snooty critics and random Internet fanboys alike. I am your friend, horror fans! I know what you need, and this is it.
    • 52 Metascore
    • 80 Andrew O'Hehir
    I'm going to suggest, somewhat tentatively, that Bachelorette is most unlike "Bridesmaids" because it fundamentally isn't a comedy at all, but something closer to a dense, dark character drama tarted up in high heels and a short skirt and dosed with pills and coke.
    • 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.
    • 52 Metascore
    • 70 Andrew O'Hehir
    A ponderous but mesmerizing tick-tock thriller.
    • 52 Metascore
    • 70 Andrew O'Hehir
    People will either love Detachment or hate it, and either way it provides powerful testimony to the unrivaled passion and undiminished craft of director Kaye, whose notoriety in the film industry is matched by his near-total invisibility to the general public.
    • 52 Metascore
    • 60 Andrew O'Hehir
    The pleasant surprise when you actually watch Insidious is that it turns out to be a moderately effective suburban-family creep show, majorly in debt to "Poltergeist" and "The Exorcist" and capturing at least a little of their spirit.
    • 52 Metascore
    • 70 Andrew O'Hehir
    An achingly sweet, shambling creation that takes its time and wanders through slow-moving sight gags and odd supporting performances (like Mia Farrow's, as a dithery, lonely woman who is among the store's only customers) and ends up with a marvelously warm community-melding scene out of maybe 1924, with a bunch of people standing around on the street watching a black-and-white silent film.
    • 52 Metascore
    • 80 Andrew O'Hehir
    Considered as a whole it's a wonderful and hilarious phenomenon, most of it is executed to Dadaist perfection.
    • 52 Metascore
    • 50 Andrew O'Hehir
    The whole thing is handsomely mounted, with plenty of Goya paintings and supposed observations about the ironies of history and the cyclical nature of life, etc. Forman's always been a huckster, but I never thought I'd see him waste this many good actors on a movie this bad.
    • 52 Metascore
    • 60 Andrew O'Hehir
    It's almost really cool, without quite being really cool.
    • 52 Metascore
    • 70 Andrew O'Hehir
    A canny, ingeniously crafted guilty pleasure.
    • 52 Metascore
    • 50 Andrew O'Hehir
    The movie never fails to be crisply written and cannily delivered, but it's way too steeped in TV-culture inside jokes for its own good, and August's attempts to suffuse the whole thing with ontological or theological meaning are ultimately pretty dumb.
    • 52 Metascore
    • 70 Andrew O'Hehir
    A compelling and unpretentious indie built around two wonderfully layered performances and straightforward storytelling. Give it a listen.
    • 52 Metascore
    • 50 Andrew O'Hehir
    My Blueberry Nights may not quite be what fans of either Jones or Wong Kar-wai -- directing his first film in English -- are expecting. It's a late-night, lovelorn mood piece in a minor key, not complicated or convoluted, finally more confection than substance.
    • 52 Metascore
    • 50 Andrew O'Hehir
    What we’re left with is a teen-oriented action flick with an A-minus cast, a mixture of “Transformers”-style robot battles and cops-and-robbers showdown that never feels all that exciting or cutting-edge, bracketed by some intriguing and half-successful moments of social commentary.
    • 51 Metascore
    • 70 Andrew O'Hehir
    The charm and the shoddiness of Haiku Tunnel stem from the same source. It's basically a San Francisco underground theater production that somehow escaped onto the movie screen without losing any of its eccentric, insular qualities.
    • 51 Metascore
    • 30 Andrew O'Hehir
    It's exactly the sort of movie that Hollywood specializes in, the kind which seems on paper as if it ought to be entertaining, but winds up a massive and chaotic drag.
    • 51 Metascore
    • 50 Andrew O'Hehir
    An oddly listless and downbeat affair, setting these two beloved eccentrics adrift in a road movie that's rarely funny enough to connect as absurdist comedy and rarely compelling enough to work as recession-era male-bonding melodrama.
    • 51 Metascore
    • 70 Andrew O'Hehir
    If you're willing to suspend not just disbelief but also all considerations of logic and intelligence and narrative coherence, it's also a rip-roaring, fun adventure, fatefully balanced between high camp and boyish seriousness at almost every second.
    • 51 Metascore
    • 80 Andrew O'Hehir
    It's one of the year's signature film experiences.
    • 51 Metascore
    • 50 Andrew O'Hehir
    If anything, Think Like a Man, the awkward but intermittently amusing black-centric ensemble film built out of comedian Steve Harvey's self-help bestseller "Act Like a Lady, Think Like a Man" deserves a gold star for its generous portrayals of Caucasians.
    • 51 Metascore
    • 70 Andrew O'Hehir
    Gitai's experimental technique in Free Zone is dizzying, sometimes thrilling.
    • 51 Metascore
    • 70 Andrew O'Hehir
    There's plenty to like here, especially for connoisseurs of the action genre, and there's also plenty to make you wonder whether Besson and co-writer Robert Mark Kamen scribbled their screenplay on a batch of Marseilles cocktail napkins and then lost one or two.
    • 51 Metascore
    • 70 Andrew O'Hehir
    Straightforward, a bit literal-minded, very faithful to the book and largely compelling.
    • 51 Metascore
    • 50 Andrew O'Hehir
    I don't mean that this movie is strikingly good or strikingly bad, in cosmic terms -- it's a solid but totally forgettable entertainment, redeemed somewhat by Barrymore's loud, horsey laugh and some agreeably racy comic situations.
    • 51 Metascore
    • 70 Andrew O'Hehir
    Noé isn't a kid (he'll turn 40 this year) but he's still young as a filmmaker; he may yet learn to control his desire to sear the audience's eyes out with a red-hot poker before he's even started telling a story.
    • 51 Metascore
    • 80 Andrew O'Hehir
    The sharpest, most authentic portrait of Hollywood life made in the last several years. (As a movie about contemporary Los Angeles, it's approximately 617 percent better than the monumentally bogus "Shopgirl.")
    • 51 Metascore
    • 50 Andrew O'Hehir
    Seyfried’s performance is worth the price of admission. But Linda Lovelace deserved something more.
    • 50 Metascore
    • 40 Andrew O'Hehir
    Robert De Niro and Frances McDormand almost rescue this lifeless, clichéd cop drama! Close isn't good enough!
    • 50 Metascore
    • 50 Andrew O'Hehir
    But when people have sex in a movie -- that wasn't, you know, made in Hungary and meant to convince you that life is meaningless -- isn't it a good idea to make it seem kind of hot? Because on that score, No Strings Attached is a near-total failure.
    • 50 Metascore
    • 50 Andrew O'Hehir
    It's a charming if conspicuously unfinished film, a half-riotous, half-idiotic send-up of the teen horror genre with a vaguely hip political twist.
    • 50 Metascore
    • 40 Andrew O'Hehir
    A minor and superficial summer diversion that offers female viewers not much more than a two-hour escape fantasy, but that's not a crime.
    • 50 Metascore
    • 80 Andrew O'Hehir
    Pretty much rocks.
    • 50 Metascore
    • 70 Andrew O'Hehir
    Spike Lee's explosive, near-masterpiece media satire balances between brilliance and incoherence.
    • 50 Metascore
    • 70 Andrew O'Hehir
    There's an unkillable something at the heart of Septien, an artistic ambition that's not calculated or cynical, that feels homegrown American but is thoroughly resistant to totalitarian spectacle and the manufactured tides of mass opinion. There's no substitute for that.
    • 50 Metascore
    • 30 Andrew O'Hehir
    A would-be tween-oriented hit so scrubbed and sanitized and not worthy of paying attention to that it can barely be said to exist at all.
    • 50 Metascore
    • 20 Andrew O'Hehir
    This premise could, just maybe, make for a decent thriller, but everything about Murder by Numbers is so flavorless and rote, so devoid of real suspense and human interest, that you never suspect for a moment that the answers are likely to be engaging.
    • 50 Metascore
    • 70 Andrew O'Hehir
    Super is occasionally brilliant, sometimes awful and terribly confusing overall.
    • 50 Metascore
    • 50 Andrew O'Hehir
    The movie never makes much of a case for its own existence; it's a mediocre western clumsily welded to a mediocre alien shoot-'em-up, and if you allow yourself to think about its treatment of history for as long as one second, you'll feel insulted.
    • 49 Metascore
    • 60 Andrew O'Hehir
    My eyes never left the screen and my attention never wandered; in a restricted, technical sense of the term, Kidnapped is a masterpiece. But I make no claims for its moral value or for any cathartic or redemptive qualities.
    • 49 Metascore
    • 50 Andrew O'Hehir
    It's not merely that these subjects have already been satirized to the point of ultimate tedium; more importantly, Simone just isn't very funny.
    • 49 Metascore
    • 70 Andrew O'Hehir
    Range has a marvelous feel for the clichés and conventions of TV-news documentary, and the tone of mournful elegy he strikes here is both convincing and -- believe me, I'm shocked to be writing this -- moving.
    • 49 Metascore
    • 70 Andrew O'Hehir
    Hu, a Chinese-American immigrant who made a mid-career switch from business to filmmaking, approaches these characters with genuine passion and compassion, and her evident talent shines through the timeworn material. Acting by all three principals is tremendous.
    • 49 Metascore
    • 50 Andrew O'Hehir
    For me, Franken is funniest at his least guarded and his most incorrect, and as he inches toward becoming a politician himself, we get less and less of that.
    • 49 Metascore
    • 20 Andrew O'Hehir
    That's the culture we live in, where the once-proscribed Pleasure Principle has become iron law and where the recycled, bloated, fish-belly emptiness of something like TRON: Legacy carries boredom to extravagant new heights.
    • 49 Metascore
    • 60 Andrew O'Hehir
    Isn't much more than a student film made by a talented amateur who's in over his head. Burns has a decent eye and a breezy sense of pace, and he'll make better movies if he remembers where he came from.
    • 49 Metascore
    • 70 Andrew O'Hehir
    I'm delighted to tell you that the new Thing was made by people who understand what the horror audience wants and don't treat it like a bunch of brain-dead children. Mirabile freakin' dictu.
    • 49 Metascore
    • 50 Andrew O'Hehir
    This movie isn’t terrible enough to derail the “Sherlock Holmes” star’s upward trajectory toward pop-culture domination, but Cumberbatch’s subtle and intriguing performance as the inscrutable Aussie loner behind WikiLeaks is surrounded by a plodding and minor melodrama that’s ludicrously ill suited to the material.
    • 49 Metascore
    • 70 Andrew O'Hehir
    It's an intriguingly murky B-movie that should satisfy genre buffs.
    • 49 Metascore
    • 80 Andrew O'Hehir
    Taken as a whole, Antichrist is a gorgeous, mesmerizing construction, and almost every one of its frames shimmers with demented, imaginary life... It offers more proof, if we need any, that von Trier is one of the most accomplished cinema artists of our time, and also perhaps the most deeply trapped in his own head.
    • 49 Metascore
    • 70 Andrew O'Hehir
    Sleuth is well acted, and directed by Branagh with chilly, distant ingenuity. It has a certain edge and daring, or more to the point it pretends to.
    • 49 Metascore
    • 90 Andrew O'Hehir
    So truly and exceptionally fine, a spiny and dispassionate little masterpiece of a marriage movie.
    • 49 Metascore
    • 20 Andrew O'Hehir
    The fact that its sound and photography are gracefully crafted, or that fragments of a tolerable film are visible here and there, only makes its dumb-ass, romance-novel version of tragedy worse. This is one of the most badly botched mainstream movies I've seen in years.
    • 49 Metascore
    • 50 Andrew O'Hehir
    Viewed as cinema, it’s an unstable and almost surrealist combination of Soviet-style war propaganda film, Zack Snyder-style action flick and sentimental fairy tale.
    • 49 Metascore
    • 40 Andrew O'Hehir
    There's a gloomy quality to The Good Night I sort of appreciated -- much of it was shot in London, although it's supposed to occur in New York -- but after the initial acerbic setup fades, Gary becomes less and less likable and the movie evaporates into nothing.
    • 49 Metascore
    • 70 Andrew O'Hehir
    A quiet, unglamorous film that sneaks up on you slowly. I found it had a lovely, peculiar emotional resonance by the time it was over, but it's likely to appeal more to documentary buffs and obsessive Gondry fans than ordinary moviegoers.
    • 49 Metascore
    • 40 Andrew O'Hehir
    30 Minutes or Less features about half of a decent idea, which works out OK since it ends up as half a movie.
    • 49 Metascore
    • 40 Andrew O'Hehir
    Gets off to a great start and then simply shuts down, like an awesome vintage car on an ambitious road trip.
    • 49 Metascore
    • 40 Andrew O'Hehir
    Dark Matter has neither the technical command of an art-house film nor the manufactured intensity of a grade-B thriller, yet it's also too cheap and dirty to feel like a Hollywood-scale drama.
    • 49 Metascore
    • 40 Andrew O'Hehir
    This one has its technical virtues, but it’s frankly kind of a muddle, and may have been doomed from the outset. I would divide the potential audience for Oldboy into two groups: Those who will be disappointed and those who will be bewildered.
    • 49 Metascore
    • 80 Andrew O'Hehir
    It’s a crisp and often hilarious female-centric social satire loaded with delicious talent from the TV-comedy pool.
    • 49 Metascore
    • 80 Andrew O'Hehir
    The movie of the season for sci-fi and horror fans.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Herman Boone was no doubt a terrific football coach, but the lessons to be drawn from his success in Alexandria are ambiguous, and Remember the Titans is too wrapped up in its weepy macho sentimentality to address them clearly.
    • 48 Metascore
    • 70 Andrew O'Hehir
    Occasionally thrilling, sometimes hilarious and mostly absolute claptrap. Think of it as a lot like drinking a fourth cup of holiday eggnog: Not really a good idea at all, but you might have fun.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Bleach out the colors, backdate the wardrobes, insert Gary Cooper and Rosalind Russell and you've got one of Frank Capra's lesser films.
    • 48 Metascore
    • 60 Andrew O'Hehir
    21
    Spacey's engaging for a while in one of his patented double-edged, sharky roles.
    • 48 Metascore
    • 30 Andrew O'Hehir
    What we've really got here is a tame screwball adventure dressed up with some desert scenery and some awful computer graphics.
    • 48 Metascore
    • 50 Andrew O'Hehir
    Setting such larger aesthetic questions aside, there isn't much to dislike about The Longest Yard, at least once you've gotten used to the pervasive fear of homosexuality that seems to ooze from the film's pores.
    • 48 Metascore
    • 30 Andrew O'Hehir
    You could definitely call it awful, and I'm about to do so, repeatedly and effusively. In fact, One Day is an appallingly bad movie made by talented people who could and should have done much better, but somehow all drove off the cliff together.
    • 48 Metascore
    • 60 Andrew O'Hehir
    An elegant but muddled affair, worth seeing despite (and maybe because of) its own split personality.
    • 48 Metascore
    • 50 Andrew O'Hehir
    The movie’s just too boring and middlebrow.
    • 48 Metascore
    • 30 Andrew O'Hehir
    It sometimes produces moments of unexpected power. It also produces a bizarre and fatally uneven movie, veering from black comedy to utter stupidity to maudlin religiosity, which seems to have been made in total defiance of both narrative conventions and emotional logic.
    • 47 Metascore
    • 70 Andrew O'Hehir
    A finely balanced piece of comedic machinery.
    • 47 Metascore
    • 40 Andrew O'Hehir
    As drama it feels forced and highly conventional.
    • 47 Metascore
    • 30 Andrew O'Hehir
    The story sounds great, on paper: It''s got interracial romance and betrayal, political and ethnic violence, and a faint feminist undercurrent. But the resulting movie is so pretty and so utterly lifeless you can almost smell the embalming fluid coming off the screen.
    • 47 Metascore
    • 30 Andrew O'Hehir
    Stupid, empty and -- worst of all -- fantastically boring.
    • 47 Metascore
    • 70 Andrew O'Hehir
    If you're ready to roll with Hotel and take what it gives you, there's some rich entertainment here.
    • 47 Metascore
    • 50 Andrew O'Hehir
    This movie is bizarre, conflicted, unintentionally hilarious and profoundly mediocre – something like one of those based-on-a-true-story demonic possession yarns, with its polarities reversed – but not stupid in the way you’re probably thinking.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Isn't a terrible movie, but it is a tremendous disappointment.
    • 47 Metascore
    • 30 Andrew O'Hehir
    It's all just an embarrassment, the kind of pointless slog you'll encounter on Netflix in two years and wonder, How the hell did that get made?
    • 47 Metascore
    • 50 Andrew O'Hehir
    It's a compact and symmetrical picture with all its plot points in the right places, but I never found it convincing in the slightest.
    • 47 Metascore
    • 70 Andrew O'Hehir
    A fantastical sex farce, and a highly amusing one at that, without being the least bit momentous or memorable.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Isn't the worst film in the world, but its vision of reality seems so stylized, so fake, that I came out of it wondering whether it has the slightest idea what it's talking about.
    • 47 Metascore
    • 50 Andrew O'Hehir
    The satire doesn't go far enough.
    • 47 Metascore
    • 70 Andrew O'Hehir
    Rock of Ages is an effulgent celebration of fakeness. It isn't trying to be real; it's trying to be faker than any fake thing has ever been before.
    • 47 Metascore
    • 50 Andrew O'Hehir
    Such a feebleminded, good-natured comedy that it actually makes you laugh with that timeless gag of somebody pretending to cough while calling someone else a bad name.
    • 47 Metascore
    • 50 Andrew O'Hehir
    The film has moments of goofy delight, some pseudo-David Lynch spookery and a couple of comic supporting turns.
    • 47 Metascore
    • 40 Andrew O'Hehir
    Reasonably good fun. If you're a 12-year-old boy riding an intense Cherry Pepsi buzz and totally devoted to destroying some brain cells, that is.
    • 46 Metascore
    • 50 Andrew O'Hehir
    The initial setup for the story is engaging enough, but Noyce and cinematographer Ross Emery have shot the whole thing in generic digital fake black-and-white, so it looks like a late-‘90s TV commercial for a soon-to-be-recalled compact car.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Isn't exactly bad and isn't exactly good. It's raw in some places and overcooked in others.
    • 46 Metascore
    • 70 Andrew O'Hehir
    Autumn is actually pretty damn good. It's a defiantly odd work, a movie-movie set more in the crime-film Paris of Jean-Pierre Melville or Jacques Becker or early Godard than in the real 21st century city.
    • 46 Metascore
    • 50 Andrew O'Hehir
    I'm not sure whether Howard and screenwriter Allan Loeb are to be commended for aspiring to something odd and original, or condemned for a result that's so messy and miscellaneous.
    • 46 Metascore
    • 80 Andrew O'Hehir
    Roehler mixes cheap sex humor, existential darkness, buffoonish satire and profound tenderness in almost classic proportions. Maybe this is too uneven to be a masterpiece, but it's somewhere close.
    • 46 Metascore
    • 60 Andrew O'Hehir
    I wanted to take these two characters somewhere else and make a real movie about them...But Vaughn provides so many spooky, hilarious, unhinged moments, you won't mind sitting through it.
    • 46 Metascore
    • 30 Andrew O'Hehir
    Renders Jonathan Safran Foer's best-selling 2005 novel into unconvincing Hollywood mush.
    • 46 Metascore
    • 70 Andrew O'Hehir
    To state the obvious, Manderlay is often patently offensive in its racial politics, and it surely isn't for everyone. It is, however, very funny, very dark and very skillfully played.
    • 46 Metascore
    • 70 Andrew O'Hehir
    In essence, the movie is an ungainly but irresistible romantic-triangle comedy built around Rudd, Reese Witherspoon and Owen Wilson, with Nicholson rambling around its periphery like a demonic bear, part comic relief and part distraction.
    • 46 Metascore
    • 80 Andrew O'Hehir
    Though it definitely requires a strong stomach, Ravenous may be the best cannibal tragicomedy ever made.
    • 46 Metascore
    • 40 Andrew O'Hehir
    Unless you like boob jokes and preachy sentimentalism, this comedy isn't funny at all.
    • 46 Metascore
    • 80 Andrew O'Hehir
    The younger Levinson has considerable storytelling talent, an admirable honesty and a streak of ruthlessness.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Mediocre raunchy comedy.
    • 46 Metascore
    • 50 Andrew O'Hehir
    Roy is like a meta-Cruise or a Cruise pastiche; even the disturbing, stalkerish aspects of his character seem as if they were constructed from tabloid stories about the actor's marriage, his religious affiliation, his sexual identity.
    • 46 Metascore
    • 50 Andrew O'Hehir
    I'm not big on those Pauline Kael-style encomiums to great actors in mediocre material, but that's exactly what we've got here. Stevenson is so incandescent -- so funny, so vulnerable, so awkwardly sexy.
    • 45 Metascore
    • 70 Andrew O'Hehir
    Michael Bay sends a clear message to those of us who've been making fun of him: He's been in on the joke the whole time.
    • 45 Metascore
    • 80 Andrew O'Hehir
    If you stick with Bully through its seemingly endless repetition of themes and its hurl-inducing hand-held camerawork, it does build a crude, indefinable power.
    • 45 Metascore
    • 50 Andrew O'Hehir
    Evening feels like one of those devil's-candy productions that aim to bring artistry to a large audience, specifically a large audience of adult women who don't often go to the movies. Even considering it in that light, I found it miscalculated and overcooked.
    • 45 Metascore
    • 50 Andrew O'Hehir
    If the resulting film doesn't work equally well at all levels, Wood (who starred in "Thirteen") gives an astonishing performance that pushes it most of the way there.
    • 45 Metascore
    • 50 Andrew O'Hehir
    I'd have no problem with the element of rampant, half-wacky speculation at the outer edges of physics in these movies if they came labeled as such.
    • 45 Metascore
    • 40 Andrew O'Hehir
    A movie so addicted to the crack pipe of delirious cinematic badness that it has real potential as a camp classic.
    • 45 Metascore
    • 60 Andrew O'Hehir
    To my taste, savvy Hollywood veteran Bill Condon debuts as director of the two-part "Twilight" conclusion in satisfying fashion, delivering a voluptuous if often inert spectacle that splits the difference between high camp and decadent romance.
    • 45 Metascore
    • 70 Andrew O'Hehir
    Moody and a little slow, with muted colors and a half-empty, alien-feeling suburban setting, Danish director Ole Bornedal's The Possession is a nifty end-of-summer gift for horror buffs.
    • 45 Metascore
    • 50 Andrew O'Hehir
    It isn't the shifting narrative focus of Miral that's the problem, nor is it the purposefully provocative pro-Palestinian perspective. It's Jebreal's screenplay, which uses every scene as a vehicle for delivering news headlines or condensed political rhetoric, and seems incapable of capturing a specific emotion or an individual personality.
    • 45 Metascore
    • 70 Andrew O'Hehir
    Marshall delivers old-fashioned swashbuckling action-movie thrills more than computer-engineered grotesquerie.
    • 45 Metascore
    • 60 Andrew O'Hehir
    While the portrayal of Southern race relations in the '60s is less central here than in "The Help," it's also less labored and earnest, and one could argue that it's subtler, more intimate and more honest.
    • 45 Metascore
    • 40 Andrew O'Hehir
    I don't think any of it really hangs together as anything resembling drama, or that Michael is ever a remotely likable character, before or after his day of reckoning. But Adam Sandler didn't get where he is today by making movies for me and Roger Ebert to like.
    • 45 Metascore
    • 30 Andrew O'Hehir
    Luc Besson and Liam Neeson and the rest of the furriners who made the inept and offensive Taken 2 don't seem to have gotten the memo from Jason Bourne: Americans don't think our spooks are good guys anymore.
    • 45 Metascore
    • 80 Andrew O'Hehir
    Compared to, say, your average Adam Sandler movie it's a master class in film comedy. Oh, you will laugh. You may not forgive yourself for it easily, but you will laugh. You may well laugh to the point of pee stains in your underthings, and if you think that's gratuitous you have no idea.
    • 45 Metascore
    • 50 Andrew O'Hehir
    An uneven but impressively ambitious picture.
    • 45 Metascore
    • 70 Andrew O'Hehir
    It's a lot like a '70s exploitation movie, with its determination to seduce and shock the viewer with alternating currents of electrical stimulus, and its weird combination of arty arch-decadence and neo-Victorian moralizing.
    • 45 Metascore
    • 70 Andrew O'Hehir
    While the whole thing feels weirdly miscalculated to me, A Million Ways to Die in the West tweaks the formula just enough, delivers a few laughs and keeps the guest stars coming.
    • 45 Metascore
    • 70 Andrew O'Hehir
    I'm not sure Mean Machine is any worse than "The Longest Yard," but it lacks the nihilistic '70s background that lent the latter's combination of humor and brutality an air of (arguably bogus) social commentary.
    • 45 Metascore
    • 50 Andrew O'Hehir
    Perfectly acceptable entertainment in the Mouse Factory's most familiar vein.
    • 45 Metascore
    • 60 Andrew O'Hehir
    It has, at times, a loopy, edgy humor and moments of genuinely affecting pathos. But somehow the combination doesn't add up to anything.
    • 45 Metascore
    • 70 Andrew O'Hehir
    So finely crafted, so alive with wonderful acting and an extraordinary commitment to realism that most audiences will be happy to surrender themselves to its improbable ride.
    • 44 Metascore
    • 50 Andrew O'Hehir
    This is a really lively, fun and high-spirited comedy. If you leave after half an hour.
    • 44 Metascore
    • 50 Andrew O'Hehir
    Saying that Raimi’s trip to Oz is adequate eye candy with a good heart isn’t the same thing as saying it’s actually good. I was charmed at some moments, profoundly bored by others and almost never felt genuinely excited or emotionally engaged.
    • 44 Metascore
    • 60 Andrew O'Hehir
    Haneke's new Funny Games has a current of bleak humor that comes through more clearly when you're not reading subtitles. It remains a horrifying, implacable mind-fuck, liable to be widely misunderstood and widely despised.
    • 44 Metascore
    • 70 Andrew O'Hehir
    We’re the Millers has just the right stupid, humane vulgarity for the dog days of August.
    • 44 Metascore
    • 10 Andrew O'Hehir
    It's a dumb, ugly and, most of all, painfully unfunny movie.
    • 44 Metascore
    • 70 Andrew O'Hehir
    If it arrives in final form as (still) a total mess, it's such a passionate and ambitious mess -- overcrowded with extraordinary images, incomprehensible ideas, literary and pop-cultural references and colliding subplots -- that it transcends its adolescent awkwardness and approaches being magnificent.
    • 44 Metascore
    • 60 Andrew O'Hehir
    It's a generically enjoyable action film with a bit of hardboiled based-on-a-true-story-ness about it, and since it's set in the '80s and feels like an '80s movie, it seems a lot like something you must have seen years ago.
    • 43 Metascore
    • 60 Andrew O'Hehir
    An engrossing, gem-hard little popcorn-cruncher.
    • 43 Metascore
    • 50 Andrew O'Hehir
    Her (Taymore) interpretations and interpolations range from brilliant to indifferent to extremely silly; as Taymor surely knows, there's nothing especially revolutionary in asking Helen Mirren to play the central role of Prospera.
    • 43 Metascore
    • 70 Andrew O'Hehir
    A well-acted little thriller of the sort sometimes called a "twisty" -- I wouldn't call it a great movie, but it'll keep you guessing about its characters and it has an intriguing mean streak.
    • 43 Metascore
    • 50 Andrew O'Hehir
    If you liked “Garden State” — or if you hated it, for that matter — you pretty much know what you’re in for with Wish I Was Here.
    • 43 Metascore
    • 70 Andrew O'Hehir
    Total Recall is a doggone good time, with a bunch of nifty technical and visual flourishes, competently managed plot twists and elegant, Wachowski-esque action choreography that eventually becomes deadening because there's just too much of it and it's dialed up too high.
    • 43 Metascore
    • 80 Andrew O'Hehir
    The ABCs of Death is one-stop shopping for deviant cinema, a Pu Pu platter of perversity. It made me laugh hysterically, shout with outrage, wince with discomfort and yearn to hide under the sofa, all by the halfway mark.
    • 43 Metascore
    • 50 Andrew O'Hehir
    Much of the argument Navarro assembles in Death by China is unassailable as to its basic facts, even if the tone and manner of presentation leave much to be desired.
    • 43 Metascore
    • 40 Andrew O'Hehir
    360
    It's easy to hate movies that are abundantly terrible or immoral or stupid, but I almost feel like a jerk telling you that Fernando Meirelles' globetrotting drama 360 is a mistake from beginning to end.
    • 43 Metascore
    • 30 Andrew O'Hehir
    A dreary, humorless affair, with no real feeling for the rhythms of either baseball or love.
    • 43 Metascore
    • 80 Andrew O'Hehir
    It isn't a masterpiece; there are occasional clunkers in Jelski's dialogue (adapted from a play by Wolfgang Bauer) and the acting, although superior to maybe 85 percent of Hollywood movies, is a little uneven.
    • 43 Metascore
    • 70 Andrew O'Hehir
    Although Instinct is strictly a Hollywood formula picture, it's such an efficiently executed one, built around two such outstanding actors, that for the most part you won't mind.
    • 43 Metascore
    • 50 Andrew O'Hehir
    A middling little movie that tries to trespass on Bergman-Renoir territory and simply isn't adroit enough to pull it off, and because in its weaker moments it's overheated and silly.
    • 43 Metascore
    • 70 Andrew O'Hehir
    Mackenzie delivers that story as a blend of sex comedy, dark satire, and morality tale that recalls various aspects of "Shampoo" and "Less Than Zero" and "The Graduate," but has a couple of nifty surprises and a poisonous sting in its tail that's all its own.
    • 43 Metascore
    • 60 Andrew O'Hehir
    An agreeably chewy, pulpy work of old-fashioned crime cinema, a fair bit overcooked and overlong, but worth catching for its acting, its atmosphere and its action set-pieces.
    • 43 Metascore
    • 50 Andrew O'Hehir
    This is a highly enjoyable summer thrill ride with an action heroine who likes to be on top, literally and figuratively.
    • 42 Metascore
    • 40 Andrew O'Hehir
    Too jumbled to become the major pop hit it wants to be. But it's not an entirely bad film despite its lack of coherence. Horror aficionados and other midnight-movie fans shouldn't miss it.
    • 42 Metascore
    • 40 Andrew O'Hehir
    But in the end conventional sentiment, rather than any actual morality, is all that the script for The Family Man (by David Diamond and David Weissman) has to offer.
    • 42 Metascore
    • 40 Andrew O'Hehir
    Whatever his faults as a filmmaker may be, Cameron would never make an adventure flick that felt this bland and generic.
    • 42 Metascore
    • 70 Andrew O'Hehir
    Home of the Brave isn't exactly a subtle or a delicate picture -- it's an old-fashioned Hollywood movie, at least in tone, that's being released like an indie -- but it has some terrific acting and comes straight from the heart.
    • 42 Metascore
    • 40 Andrew O'Hehir
    So teachers' unions don't care about kids. Oh, and luck is a foxy lady. This is what I took away from the inept and bizarre Won't Back Down, a set of right-wing anti-union talking points disguised (with very limited success) as a mainstream motion-picture-type product.
    • 42 Metascore
    • 50 Andrew O'Hehir
    Alone among the cast, Farrell seems to understand that this movie -- which is lazy and stoned, for all its loud music -- needed somebody to go ape-shit, to pretend to give a crap or at least to have fun.
    • 42 Metascore
    • 40 Andrew O'Hehir
    What makes The Internship especially unfortunate is that there are pieces of a better, funnier movie lying around here, pretty much unnoticed.
    • 42 Metascore
    • 60 Andrew O'Hehir
    The kind of little indie you'll either hate or find impossible to resist. I fall into the latter camp, but can appreciate opposing views.
    • 42 Metascore
    • 50 Andrew O'Hehir
    The best thing I can say about it is that the costumes and the hambone acting keep it from being a deadly bore.
    • 42 Metascore
    • 60 Andrew O'Hehir
    The funny thing about all this is that a half-hour into Underworld I couldn't wait for it to be over. When it really was over, I couldn't wait for the next installment. Go figure.
    • 42 Metascore
    • 80 Andrew O'Hehir
    As a performance-art act of juvenile Id-fulfillment, it's magnificent.
    • 42 Metascore
    • 70 Andrew O'Hehir
    There's definitely some empty-calories, summer-movie fun to be found in this ludicrous genre mashup, most of it courtesy of maniacal Russian director Timur Bekmambetov, who stages hilarious, imaginative, almost free-form action sequences like nobody in the business.
    • 42 Metascore
    • 50 Andrew O'Hehir
    Horror fans should see this, at least in geeky admiration for what it pulls off, but in the long run it's no more than a crisp footnote to genre history.
    • 41 Metascore
    • 60 Andrew O'Hehir
    A cryptic and unsettling film.
    • 41 Metascore
    • 50 Andrew O'Hehir
    I'm not quite saying that the unabashed squareness and silliness of Larry Crowne are negatives. They're almost admirable in themselves, and certainly constitute a selling point.
    • 41 Metascore
    • 40 Andrew O'Hehir
    Its shameless and nonsensical combination of ingredients finally won me over, after a fashion, when I realized that its gung-ho Navy-recruitment propaganda and retrograde gender politics shouldn't be taken any more seriously than the ZZ Top, AC/DC and Billy Squier songs on the soundtrack.
    • 41 Metascore
    • 40 Andrew O'Hehir
    Forster and Benioff are able craftsmen who apparently thought it might be interesting to seal themselves into a narrative box with no way out. Sorry about that, guys -- I hope it was a growth experience.
    • 41 Metascore
    • 50 Andrew O'Hehir
    I'm always grateful to practice a little affirmative action on behalf of grade-C sleaze movies with a budget you could probably locate in your sofa cushions or your dryer, and Tim McCann's digital-video opus Nowhere Man is a fine example of the species.
    • 41 Metascore
    • 30 Andrew O'Hehir
    There’s enough craft and intelligence at work here that you can’t dismiss Raze as meaningless sadism, but not nearly enough to make it worth the unpleasantness of actually watching it.
    • 41 Metascore
    • 40 Andrew O'Hehir
    The doggie in Darling Companion is a big, warm bundle of puppy love; his owners are lost forever in a big chill.
    • 40 Metascore
    • 50 Andrew O'Hehir
    As a capable imitation of better movies by Martin Scorsese, Brian DePalma and Roman Polanski – it's reasonably successful entertainment.
    • 40 Metascore
    • 40 Andrew O'Hehir
    Proceeds at such an amiable pace and features enough creepy-crawly effects that many viewers won't quite notice or care how rickety and second-rate it is.