Andrew O'Hehir
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For 1,364 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 10.1 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Interrupters
Lowest review score: 0 Identity Thief
Score distribution:
1,364 movie reviews
    • 79 Metascore
    • 80 Andrew O'Hehir
    A guilt-free, no-fat dessert from start to finish.
    • 79 Metascore
    • 70 Andrew O'Hehir
    It's amazingly beautiful and it tests your patience; both things are par for the course with Reygadas, After that, you've either surrendered to his idiosyncratic sense of rhythm, or you're out of there.
    • 79 Metascore
    • 90 Andrew O'Hehir
    A surprising, puzzling and in many ways brilliant work.
    • 79 Metascore
    • 70 Andrew O'Hehir
    It’s shot through with sadness and beauty, with dry humor, with the certainty that even things meant to last forever actually don’t.
    • 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.
    • 79 Metascore
    • 90 Andrew O'Hehir
    An imaginative and largely intact retelling of this gory, troubling, uniquely sweet and uniquely dark vampire tale.
    • 79 Metascore
    • 80 Andrew O'Hehir
    As "Birders" makes clear, and as Franzen would surely agree, birds and birders have always been among us and require no reinvention. What they have to offer us is what that heron offered me, for just a split-second – a sense that despite our best efforts we are still a part of nature, and not yet an alien species disconnected from the real world.
    • 79 Metascore
    • 100 Andrew O'Hehir
    Its combination of dazzling cinematic craft, psychological insight and black humor make this one of the year's moviegoing musts -- and even or especially at her most deranged, Kim Hye-ja's amazing mother is profoundly, passionately human.
    • 79 Metascore
    • 90 Andrew O'Hehir
    Not only does this film gloriously fulfill the potential that Ira Sachs has tantalized movie-lovers with for years, it also help explains what took him so long. Out of lost love comes a terrific work of art; it's the oldest story in the world, but it always feels new when it's done right.
    • 79 Metascore
    • 100 Andrew O'Hehir
    The most powerful documentary I've seen all year, and one of the two or three best films ever made about an artist or musician.
    • 79 Metascore
    • 100 Andrew O'Hehir
    Manufactured Landscapes may tell you more about how the 21st century world actually works than you really want to know, but it's a heartbreaking, beautiful, awful and awesome film.
    • 79 Metascore
    • 80 Andrew O'Hehir
    The result is giddy, exciting and hilarious, not quite like any artistic experience you've ever had.
    • 79 Metascore
    • 100 Andrew O'Hehir
    One of the best movies of the year.
    • 78 Metascore
    • 90 Andrew O'Hehir
    Ultra-violent and ultra-stylish, Drive stands out in this year's Cannes competition for its calculated, hard-edged brilliance.
    • 78 Metascore
    • 80 Andrew O'Hehir
    On first viewing, I conclude that Enough Said is irresistible, and demands a second (and third) viewing right away.
    • 78 Metascore
    • 50 Andrew O'Hehir
    You may find yourself spellbound or colossally irritated; it's a close call either way.
    • 78 Metascore
    • 90 Andrew O'Hehir
    My Joy has a bleak, grotesque, near-perfect poetry in its soul.
    • 78 Metascore
    • 80 Andrew O'Hehir
    This is a remarkable work of pure documentary cinema, and a mystical accomplishment on the order of Wagner's "Parsifal" or Tarkovsky's "The Sacrifice." That's hardly anybody's thing these days -- it's not often mine. But the effort, in this case, is worth it.
    • 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.
    • 78 Metascore
    • 100 Andrew O'Hehir
    The most disturbing and effective thriller I've seen in many moons. Rarely, indeed almost never, is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite, unfakable sense of cinema.
    • 78 Metascore
    • 100 Andrew O'Hehir
    If you have the patience to watch this film develop and unfold, like some bizarre night-blooming orchid, what you'll see is not just the last movie released in 2012, but possibly the most original of them all.
    • 78 Metascore
    • 90 Andrew O'Hehir
    Creates such memorable images out of squalid surroundings that I sometimes wondered whether I was being distracted from the devastating stories of these kids by the beautiful cinematography.
    • 78 Metascore
    • 100 Andrew O'Hehir
    The grandest and most vigorous movie he's (Frears) made in at least a decade. Like Okwe himself, it rises above its limitations, and it's just a little bit bigger than the landscape around it.
    • 78 Metascore
    • 100 Andrew O'Hehir
    This stark and intensely controlled film is the work of a powerful visual stylist and storyteller, one who looks like he belongs on the short list of directors who have carried the narrative methods of the silent era deep into modern cinema.
    • 78 Metascore
    • 90 Andrew O'Hehir
    What feels at first like a quiet, straightforward picture builds into one of the richest and most satisfying of the year so far, in any genre or any language.
    • 78 Metascore
    • 100 Andrew O'Hehir
    If The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen. It's an unfriendly masterpiece that shows you only a little circle of daylight, way up there at the top of our collective prison shaft - but a masterpiece nonetheless.
    • 78 Metascore
    • 80 Andrew O'Hehir
    It's a nifty little Irish summer vacation.
    • 78 Metascore
    • 80 Andrew O'Hehir
    This is the weirdest film I've seen all year, or at least the weirdest good film. It's also among the most powerful.
    • 78 Metascore
    • 70 Andrew O'Hehir
    Homemade as it clearly is, and first-drafty as it often feels, Whedon’s Much Ado will reward repeat viewings, for the adroitly paced dialogue, the debauched humor of the extended party scenes and the offbeat visual jokes.

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