Andrew O'Hehir

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Salon
For 1,494 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 4.5 points higher than other critics. (0-100 point scale)

Andrew O'Hehir's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Mother
Lowest review score: 0 The Water Diviner
Score distribution:
  1. Positive: 1,045 out of 1494
  2. Mixed: 346 out of 1494
  3. Negative: 103 out of 1494
1494 movie reviews
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    • 66 Metascore
    • 30 Andrew O'Hehir
    Sausage Party
    I hated this movie; I wish I could unsee it and will it out of existence. But that’s not the same as thinking it’s worthless or corrupt or entirely inept. It’s more like a massively self-indulgent prank, inflicted on the world by some reasonably intelligent young men, which makes it the most bro-tastic project of all time. Mo’ bro than this, no es posible, amigos.
    • 40 Metascore
    • 20 Andrew O'Hehir
    Suicide Squad
    Decadence is supposed to be fun, surely, or at least more fun than the desperate, sludgy, frantic mess of Suicide Squad.
    • 55 Metascore
    • 10 Andrew O'Hehir
    Money Monster
    A stodgy, moribund plodder loaded with stock characters that wouldn’t have felt edgy in 1983 and has about the same contemporary urgency as your average late-night rerun of “CSI: NY.”
    • 64 Metascore
    • 30 Andrew O'Hehir
    Suffragette
    Perhaps the most startling aspect of Suffragette, which for better or worse is a standard-issue historical drama, well constructed but not especially capacious or original, is its depiction of how far female activists were willing to go in order to prove that they could stand alongside men.
    • 30 Metascore
    • 30 Andrew O'Hehir
    Stonewall
    A well-intentioned, profoundly silly and borderline insulting movie.
    • 27 Metascore
    • 30 Andrew O'Hehir
    Pixels
    For a movie that’s supposedly about delivering weightless, uncomplicated fun, Pixels is an overwhelmingly sad experience.
    • 38 Metascore
    • 30 Andrew O'Hehir
    Entourage
    Did this overstuffed quality of Entourage, its KFC Double Down too-much-is-not-enough-ness, ultimately work on me? Absolutely not.
    • 50 Metascore
    • 0 Andrew O'Hehir
    The Water Diviner
    I have to assume that Russell Crowe and Warner Bros. did not deliberately set out to insult and anger the Armenian diaspora and its friends around the world, or to participate in covering up a monumental 20th-century crime that shaped the world we live in and remains swathed in too much historical shadow. They disgraced themselves by making this movie the way they did, and then redoubled the disgrace by releasing it this week.
    • 34 Metascore
    • 20 Andrew O'Hehir
    Get Hard
    Cohen had neither the chops nor the clout to prevent Get Hard from ending up, no doubt through the normal process of producer rewrites, focus groups, worried agents and weevil infestations, as a confused and contradictory mess. More to the point, it’s almost never funny, and full of elementary screenwriting blunders.
    • 41 Metascore
    • 30 Andrew O'Hehir
    Chappie
    It’s not just that Chappie is a mishmash of familiar ingredients whose story quickly slides off the rails into a swamp of action-movie clichés, or another misbegotten project from the Land of Intriguing Premises. It doesn’t have an intriguing premise in the first place. It’s cluttered, goofy and incoherent from beginning to end, and much too long.
    • 74 Metascore
    • 30 Andrew O'Hehir
    Wild
    Wild is a Hollywood holiday movie "based on a true story," meaning that its view of reality is conditioned by the three-act structure and the pop-Christian teleology of sin and repentance.
    • 71 Metascore
    • 30 Andrew O'Hehir
    The Imitation Game
    This could have been a story of immense heroism, tragic sacrifice and agonizing historical irony, and it hints in that direction, in its stiff-upper-lip fashion, before retreating into a vain search for a happy ending and an effort to turn itself into “The King’s Speech.”
    • 71 Metascore
    • 30 Andrew O'Hehir
    The Theory of Everything
    Director James Marsh (already an Oscar winner for the documentary "Man on Wire") and screenwriter Anthony McCarten (adapting Jane Hawking's memoir) opt for the safe, pretty, and reassuring English period-piece choices the whole way through, as if deliberately underselling the fact that this is a story about two remarkable people facing extraordinary circumstances.
    • 38 Metascore
    • 10 Andrew O'Hehir
    Men, Women & Children
    With Men, Women & Children and the equally laborious “Labor Day,” Reitman has gotten trapped amid the crumbling edifice of Hollywood. It’s turning him old before his time.
    • 41 Metascore
    • 30 Andrew O'Hehir
    Raze
    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.
    • 70 Metascore
    • 30 Andrew O'Hehir
    Prisoners
    Don’t get me wrong, I like trash just fine, and the twisty-loo, triple-abduction plot of Prisoners certainly kept me watching to the end. (You’ll figure out some of screenwriter Aaron Guzikowski’s plot twists, but not all of them.) It’s the imitation-David Fincher pretentiousness that gets on my nerves.
    • 63 Metascore
    • 30 Andrew O'Hehir
    Spring Breakers
    Fitzgerald’s influence could have crept in there by osmosis, and whatever other charges you want to level against Spring Breakers – such as incoherence, plotlessness, salaciousness and mind-numbing monotony – it has no lack of high concept.
    • 58 Metascore
    • 30 Andrew O'Hehir
    Stoker
    Stoker, which plays something like a remake of “The Addams Family” mixed with “The Paperboy” — but without the laughs of either – belongs in a special category of movie badness, or perhaps two different but overlapping categories. It’s a visually striking but fundamentally terrible film made by a good or (some would say) great director.
    • 28 Metascore
    • 20 Andrew O'Hehir
    A Good Day to Die Hard
    Pretty much three well-staged action sequences strung together with the dumbest imaginable connective tissue.
    • 35 Metascore
    • 0 Andrew O'Hehir
    Identity Thief
    Identity Thief reaches impressive heights of laziness and idiocy.
    • 28 Metascore
    • 20 Andrew O'Hehir
    A Glimpse Inside the Mind of Charles Swan III
    Seriously, this is one of the strangest and most painful films in recent memory.
    • 45 Metascore
    • 30 Andrew O'Hehir
    Taken 2
    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.
    • 26 Metascore
    • 0 Andrew O'Hehir
    2016: Obama's America
    One could and perhaps should use scare quotes around "intellectual" when it comes to someone who would crank out a piece of campaign-season partisan hackwork this crude and sloppy. (By this standard, James Carville looks like Immanuel Kant.)
    • 32 Metascore
    • 30 Andrew O'Hehir
    October Baby
    That whole aspect of October Baby creeped me out a lot more than the blood-curdling failed-abortion story did, honestly. I've seen a lot of movies where crazy and impossible things happen, and you just have to roll with them. Real life is much more frightening.
    • 51 Metascore
    • 30 Andrew O'Hehir
    Contraband
    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.
    • 52 Metascore
    • 30 Andrew O'Hehir
    The Iron Lady
    Speaking as someone who despises almost every aspect of the Thatcherite social-economic consensus that has defined the capitalist world for thirty years (and almost every aspect of Thatcher's actual policies), she deserves more than this.
    • 46 Metascore
    • 30 Andrew O'Hehir
    Extremely Loud and Incredibly Close
    Renders Jonathan Safran Foer's best-selling 2005 novel into unconvincing Hollywood mush.
    • 59 Metascore
    • 20 Andrew O'Hehir
    J. Edgar
    J. Edgar turns out to be one of the worst ideas anybody's ever had, a mendacious, muddled, sub-mediocre mess that turns some of the most explosive episodes of the 20th century into bad domestic melodrama and refuses to take any clear position on one of American history's most controversial figures.
    • 37 Metascore
    • 20 Andrew O'Hehir
    Trespass
    Can someone explain what Nicolas Cage and Nicole Kidman are doing in a chaotic and sadistic home-invasion thriller, shot in digital colors so radioactive they appear to have leaked out of the Fukushima nuclear plant?
    • 17 Metascore
    • 0 Andrew O'Hehir
    The Human Centipede II (Full Sequence)
    What's really depressing is that some viewers may be deluded into thinking there's something of substance in "Centipede II," when it's more like a DC Comics version of Pier Paolo Pasolini's notorious "Salò, or The 120 Days of Sodom," with the sweeping condemnation of Western culture stripped out and the mean-spiritedness cranked to 11. If you want to check this out for a stomach-turning giggle, don't let me stop you. But please, let's not pretend it means more than that.
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