Andrew O'Hehir

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For 1,476 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 9.2 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 L'Enfant (The Child)
Lowest review score: 0 Identity Thief
Score distribution:
1476 movie reviews
    • 83 Metascore
    • 80 Andrew O'Hehir
    It isn't likely to drive anybody out of the theater -- although getting people out of the house to see a meticulous, minimalist study of madness and memory may be another story.
    • 83 Metascore
    • 100 Andrew O'Hehir
    I recognize how few horror movies I've seen before or since that ever manage to capture such a tangible feeling of menace.
    • 83 Metascore
    • 80 Andrew O'Hehir
    Ultimately Gordon's movie becomes both a hilarious story about an unbelievable collection of arrested-teenage morons and, yes, an inspiring fable of persistence and redemption. I haven't mentioned this movie's fabulous addition to the English language yet, so here it is: the verb "to chumpatize."
    • 83 Metascore
    • 90 Andrew O'Hehir
    Bruno Dumont's Hadewijch is one of two small-release art films this season that deliver nuanced and fascinating portraits of faith.
    • 83 Metascore
    • 90 Andrew O'Hehir
    But at his best - and his new movie, The Day He Arrives, is among his very best - Hong offers a strange mixture of magic, mystery, rueful melodrama and dry comedy that's like absolutely nothing else.
    • 83 Metascore
    • 100 Andrew O'Hehir
    It’s so assured and accomplished, so rigorous on both a human and technical level, and so clearly driven by love for this harsh landscape and its hardened people, that I was entirely swept away by its characters and their story.
    • 83 Metascore
    • 80 Andrew O'Hehir
    In To's movies no one is innocent, and the social corruption has reached down to the soul. He orchestrates action scenes with an elegance that suggests Scorsese.
    • 83 Metascore
    • 90 Andrew O'Hehir
    Although Cutie and the Boxer is one of the most unsentimental and unstinting portraits of marriage ever brought to the screen, there’s considerable hopefulness and love in it, and it illustrates the adage that whatever you can survive will ultimately make you stronger.
    • 83 Metascore
    • 80 Andrew O'Hehir
    A tightly constructed drama that will keep you on the edge of your seat.
    • 83 Metascore
    • 80 Andrew O'Hehir
    Highly compelling, if overlong and overwrought.
    • 83 Metascore
    • 80 Andrew O'Hehir
    A rip-roaring feminist yarn that should offer relief to viewers anxious for an alternative to the boys-with-guns flicks of summer.
    • 83 Metascore
    • 70 Andrew O'Hehir
    Tyson does succeed in humanizing a deeply troubled individual who has been depicted as an almost animalistic stereotype of African-American manhood.
    • 83 Metascore
    • 90 Andrew O'Hehir
    An inexpressibly beautiful and moving film, even though (or because) it seems to be about someone unimportant doing something irrelevant, perhaps something silly, in the face of insurmountable odds and a world that doesn't care.
    • 83 Metascore
    • 100 Andrew O'Hehir
    If possible, Roberts' movie-within-a-movie is even more amazing than it sounds. She captures a tale of courage, heroism and tragedy more thrilling than any Hollywood spectacle.
    • 83 Metascore
    • 90 Andrew O'Hehir
    It Follows pretty much earns its buzz as the scariest and best-engineered American horror movie of recent years, and that’s all down to Mitchell’s sophisticated understanding of technique and the trust and freedom he accords his youthful cast.
    • 83 Metascore
    • 90 Andrew O'Hehir
    For the most part, 20,000 Days on Earth – the approximate amount of time Cave has been alive on this planet – is an imagistic and impressionistic work, a Nick Cave-esque tone poem driven by moments of visual and thematic juxtaposition you either have to reject or accept.
    • 82 Metascore
    • 90 Andrew O'Hehir
    A remarkable accomplishment, a swirling, choral sea of humanity that forces us to confront that a man who does terrible things can also be a loving father who gives his infant daughter a bath.
    • 82 Metascore
    • 80 Andrew O'Hehir
    Franco is up to every bit of Boyle's challenge, capturing Aron's transition from clownish outdoorsman and party boy to an introspective chronicler of his own impending demise and a visionary lunatic.
    • 82 Metascore
    • 90 Andrew O'Hehir
    Crisply and competently filmed, Tell No One is an intriguing sample of new-school French cinema at the more commercial end of the spectrum.
    • 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?
    • 82 Metascore
    • 80 Andrew O'Hehir
    It’s both a compelling group melodrama built around an appealing young cast and an immersive introduction into a social reality many of us haven’t thought about.
    • 82 Metascore
    • 90 Andrew O'Hehir
    A moving, surprising and provocative baseball flick that rises immediately to No. 1 with a bullet on my personal list.
    • 82 Metascore
    • 80 Andrew O'Hehir
    In its cornball "Let's put on a show!" crudeness, its Cuisinart collapsing of rock history, and its reduction of the ambiguous, libidinal revolt led by Elvis and Mick and Johnny Rotten and Kurt Cobain to the level of pampered middle-school posturing, School of Rock is a clever and sometimes a beautiful thing.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Hunger is a mesmerizing 96 minutes of cinema, one of the truly extraordinary filmmaking debuts of recent years. It's also an uneasy, unsettling experience and is meant to be.
    • 82 Metascore
    • 80 Andrew O'Hehir
    From the too-good-to-be-true desk comes this loving and hilarious portrait of Spinal Tap-esque Canadian metal band Anvil, who were briefly a hard-rock sensation in the early '80s (mainly for the song "Metal on Metal") and have been struggling along in total obscurity ever since.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Under the guise of being nothing more than a quasi-documentary about two comedians cutting up and scarfing gourmet cuisine, The Trip may be the wryest and most affecting of all the recent movies about middle-aged male angst.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Hirschbiegel and Eichinger, along with their large, brave and talented cast, have done something extraordinary for their generation of Germans, and for the world. They have willfully entered their grandparents' dirtiest, clammiest chamber of secrets.
    • 82 Metascore
    • 80 Andrew O'Hehir
    A memorable, imperfect, heartbreaking summer love story, a bit soapy in spots but loaded with power and feeling.
    • 82 Metascore
    • 80 Andrew O'Hehir
    An ingenious mixture of satire, dead-end suburban realism and gory vampire fantasy.
    • 82 Metascore
    • 90 Andrew O'Hehir
    Footnote has two of the best performances I've seen in world cinema over the past year: One from Shlomo Bar Aba (apparently best known in Israel as a stand-up comic and stage actor), playing the aging, bitter philologist Eliezer Shkolnik, and the other from Lior Ashkenazi, one of the country's best known movie stars, as his son and rival, Uriel.

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