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 4.4 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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    • 88 Metascore
    • 100 Andrew O'Hehir
    Winter Sleep
    Winter Sleep belongs alongside “Boyhood” and “Inherent Vice” on the short list of the most powerful films of 2014. Calling a film “good” or “important” is subjective, of course, but this isn’t: All three are reaching for the kind of cinematic transcendence that exceeds language, that weaves together various art forms into an ascending spiral of meaning that cannot finally be captured or defined.
    • 88 Metascore
    • 90 Andrew O'Hehir
    Citizenfour
    Citizenfour is both an urgent tale torn from recent headlines and a compelling work of cinema, with all the paranoid density and abrupt changes of scenery of a John le Carré novel.
    • 88 Metascore
    • 80 Andrew O'Hehir
    Away from Her
    Polley captures the brisk, cheerful fascism of nursing-home existence with merciless clarity; if you've visited a parent or grandparent in one of those places, you may want to laugh and cry in the same moment.
    • 88 Metascore
    • 90 Andrew O'Hehir
    The Fallen Idol (re-release)
    This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
    • 88 Metascore
    • 100 Andrew O'Hehir
    Inside Job
    It might well be the most important film you see this year, and the most important documentary of this young century.
    • 88 Metascore
    • 90 Andrew O'Hehir
    The King's Speech
    It's a warm, richly funny and highly enjoyable human story that takes an intriguing sideways glance at a crucial period in 20th-century history.
    • 34 Metascore
    • 50 Andrew O'Hehir
    Friday the 13th
    This Friday the 13th is glossy, good-looking garbage, acted out by a cast of big-chested androids (male and female alike) and with the original series' rough edges smooved over. It's reasonably entertaining.
    • 69 Metascore
    • 80 Andrew O'Hehir
    Joshua
    Only viewers with some appreciation for the odd, bloodless character of moneyed family life in New York will really understand how hilarious and deadly accurate this movie is. But then again, New York parents are the last people who will want to see it.
    • 55 Metascore
    • 50 Andrew O'Hehir
    Hugh Hefner: Playboy, Activist and Rebel
    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.
    • 87 Metascore
    • 100 Andrew O'Hehir
    L'Enfant (The Child)
    One of the greatest films of recent years.
    • 87 Metascore
    • 90 Andrew O'Hehir
    Gomorrah
    This film never feels like copycat Americana to me. Its vision of the bleak, ruined, urban-cum-rural landscape of Naples and environs is distinctively European and postmodern, redolent of the spiritual and physical desolation Antonioni captured so memorably in "Red Desert."
    • 87 Metascore
    • 80 Andrew O'Hehir
    Grizzly Man
    Herzog wants us to see a deluded nobility in this quest. Treadwell's flawed dreams were, in the end, all too human.
    • 87 Metascore
    • 100 Andrew O'Hehir
    About Elly (2009)
    As with the Antonioni film that Farhadi has so ingeniously turned to his purposes, you shouldn’t go see About Elly hoping for a Hitchcock-style thriller that will answer all your narrative questions. But if “L’Avventura” is a deliberately frustrating portrait of European postwar anomie and a study in abstract, black-and-white composition, About Elly is more dynamic and more realistic.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Lincoln
    Whatever moment of inspiration caused Spielberg to cast her (Sally Field) as Mary Todd Lincoln, it was sheer genius, because this is a role that demands bigness.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Elena
    A breakthrough movie after its own fashion, a mysterious existential thriller that's brilliantly acted and masterfully directed, without a second of wasted screen time.
    • 87 Metascore
    • 90 Andrew O'Hehir
    The Death of Mr. Lazarescu
    Almost as exhilarating as it is depressing. Puiu's filmmaking technique is remarkable, and all the more so because it's almost invisible.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Fateless
    One of the greatest of all Holocaust films.
    • 87 Metascore
    • 70 Andrew O'Hehir
    Murderball
    Has a lot of integrity, both in visual and conceptual terms, and seamlessly blends entertainment and education.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Caché (Hidden)
    A tightly constructed drama that will keep you on the edge of your seat.
    • 87 Metascore
    • 80 Andrew O'Hehir
    Moneyball
    A richly detailed and enjoyable American yarn.
    • 87 Metascore
    • 100 Andrew O'Hehir
    Rushmore
    A work of loopy, original comic genius.
    • 87 Metascore
    • 90 Andrew O'Hehir
    Force Majeure
    Force Majeure is a prickly moral comedy for grown-ups, full of sharply observed moments, spectacular scenery and masterfully manipulated atmosphere. This is very much a work of 21st-century global culture, but also one that draws on the great cinematic tradition of northern Europe, with hints of Ingmar Bergman, Eric Rohmer and Michael Haneke.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Ten
    The ultimate lesson in less-is-more cinema, an intimate and revelatory character study as well as a brilliant, almost symphonic rendering of the distracted, anxious, half-alienated and half-meditative state in which we spend vast amounts of our lives.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Tangerine
    This is a gorgeous, timely and possibly profound human comedy, and if there’s no disentangling the medium from the message that’s because both are powerful and ambiguous.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Tillman Story
    It's a fascinating film, full of drama, intrigue, tragedy and righteous indignation, but maybe its greatest accomplishment is to make you feel the death of one young man -- a truly independent thinker who hewed his own way through the world, in the finest American tradition -- as a great loss.
    • 86 Metascore
    • 90 Andrew O'Hehir
    Nebraska
    It’s a career-capping performance by Dern, who is so convincing as an addled, drunken, embittered and probably dying man that he doesn’t appear to be acting, but Forte is just as good playing a preoccupied, emotionally constricted man-child.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Kids Are All Right
    The Kids Are All Right ranks with the most compelling portraits of an American marriage, regardless of sexuality, in film history.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Cave of Forgotten Dreams
    My first thought was: It's a temple, a church, a cathedral -- maybe the first one ever built -- and the better-known ones in Rome and Jerusalem and Istanbul are just later versions of the same thing.
    • 86 Metascore
    • 90 Andrew O'Hehir
    In the Bedroom
    For all its flaws, In the Bedroom is an unusual accomplishment, a serious drama about violence and morality that plays out with a fatalistic intensity somewhere between Greek tragedy and film noir.
    • 86 Metascore
    • 100 Andrew O'Hehir
    Of Gods and Men
    What he (Beauvois) conveys, through austere but spectacular visual language, magnificent liturgical singing and an ensemble cast headed by the terrific French veteran actors Lambert Wilson and Michael Lonsdale, is something of the "why."
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