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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    • 58 Metascore
    • 90 Andrew O'Hehir
    To the Wonder
    As with any other movie, it’s all a question of what attitude you carry into the theater, and whether you’re prepared to go where Malick wants to take you. All I can tell you is that once I surrendered to the ebb and flow of Lubezki’s images, the elegiac and almost anti-narrative mode, the sweet-sad blend of romance, eroticism and tragedy and the hypnotic score – which mixes contemporary electronic pop with Berlioz, Wagner, Tchaikovsky, Henryk Górecki and Arvo Pärt – I really never wanted it to stop.
    • 66 Metascore
    • 90 Andrew O'Hehir
    Carancho
    Trapero makes naturalistic films with plenty of sex, violence and dark humor; in Carancho you can see the influence of 1950s film noir, the ballsy renegades of 1970s American cinema (especially early Martin Scorsese) and a little touch of the Coen brothers.
    • 67 Metascore
    • 90 Andrew O'Hehir
    Time to Leave
    It's a magnificent miniature, a supremely tender work that's full of emotion and even sentimentality.
    • 77 Metascore
    • 90 Andrew O'Hehir
    Victoria
    This terrifying, seductive and adrenaline-fueled movie has found a new form of freedom for cinema.
    • 78 Metascore
    • 90 Andrew O'Hehir
    Live-In Maid
    Pitch-perfect social comedy.
    • 81 Metascore
    • 90 Andrew O'Hehir
    Ai Weiwei: Never Sorry
    Klayman's riveting, vérité-style film captures this burly, bigger-than-life figure over the past three years, as his activism has heightened, his art has grown increasingly confrontational and he has deliberately blurred the distinction between aesthetics and politics.
    • 60 Metascore
    • 90 Andrew O'Hehir
    The Girl Who Kicked the Hornet's Nest
    The good news is that Alfredson finds his footing in The Girl Who Kicked the Hornet's Nest and delivers a rousing, grueling, almost operatically scaled finale to the series.
    • 80 Metascore
    • 90 Andrew O'Hehir
    Clouds of Sils Maria
    Kristen Stewart doesn’t screw it up. She’s in on the joke, but she never plays Valentine as a joke. She’s alive and alert and present in every second of screen time, alongside one of the greatest living European actresses, working not for herself but for the benefit of a strange, imperfect and sometimes brilliant film. There’s nothing more you can ask.
    • 80 Metascore
    • 90 Andrew O'Hehir
    Shake Hands with the Devil: The Journey of Roméo Dallaire
    In some ways Shake Hands With the Devil hits harder than either "Hotel Rwanda" or the recent HBO film "Sometimes in April."
    • 85 Metascore
    • 90 Andrew O'Hehir
    Fruitvale Station
    Fruitvale Station is a document of irreparable grief and paradoxical hopefulness; it launches the careers of two immensely talented young African-American artists and offers the possibility that Oscar Grant’s life, while it was much too short and ended so dreadfully, served a higher purpose in the long arc of history.
    • 82 Metascore
    • 90 Andrew O'Hehir
    Three Kings
    One of the most exciting Hollywood action films in years, and the best Vietnam movie since "Apocalypse Now."
    • 70 Metascore
    • 90 Andrew O'Hehir
    Gunner Palace
    A nerve-jangling work of visual poetry and ironic juxtaposition, and a powerful human story of a group of brave young Americans.
    • 86 Metascore
    • 90 Andrew O'Hehir
    The Master
    The Master is often spectacular and never less than handsome, and it has numerous moments of disturbing and almost electrical power. I can't say, after one viewing, that I found it moving or satisfying as a whole, but I'm also not sure it's supposed to be. This is an almost apocalyptic tale of thwarted emotion - love cut short - set in a pitiless land of delusions.
    • 73 Metascore
    • 90 Andrew O'Hehir
    The Raid: Redemption
    It offers some of the best Asian martial-arts choreography of recent years and an electric, claustrophobic puzzle-palace atmosphere that'll leave you wrung out and buzzed.
    • 74 Metascore
    • 90 Andrew O'Hehir
    State of Fear
    One of the most remarkable explorations of recent history ever conducted.
    • 77 Metascore
    • 90 Andrew O'Hehir
    A Band Called Death
    And then would come this generous, spirited documentary, to capture one of the strangest and most inspiring of all family stories of tragedy and triumph that this crazy country has produced.
    • 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.
    • 86 Metascore
    • 90 Andrew O'Hehir
    Andy Warhol: A Documentary Film
    Burns has accomplished something both remarkable and reassuring. Remarkable because this is a compelling film, blending astonishing historical images with long-winded talking-head interviews, in vintage Burnsian style, and reassuring for almost the same reason.
    • 49 Metascore
    • 90 Andrew O'Hehir
    Flannel Pajamas
    So truly and exceptionally fine, a spiny and dispassionate little masterpiece of a marriage movie.
    • 85 Metascore
    • 90 Andrew O'Hehir
    The Tree of Life
    The Tree of Life is pretty much nuts overall, a manic hybrid folly with flashes of brilliance. But even if that's true it's a noble crazy, a miraculous William Butler Yeats kind of crazy, alive with passion for art and the world, for all that is lost and not lost and still to come.
    • 68 Metascore
    • 90 Andrew O'Hehir
    We Need to Talk About Kevin
    There are so many great things happening on almost every level of this movie, from Swinton's haunting, magnetic and tremendously vulnerable performance, which is absolutely free of condescension to the suburban American wife-ness of her character, to the many unsettling individual moments.
    • 75 Metascore
    • 90 Andrew O'Hehir
    Omar
    If Alfred Hitchcock had grown up as a Palestinian, he might have made something like Hany Abu-Assad’s Oscar-nominated Omar, which is a tender love story, a haunting tragedy and an expertly crafted thriller with flawed, damaged and not entirely likable characters.
    • 74 Metascore
    • 90 Andrew O'Hehir
    The Others
    An elegantly crafted entertainment, balanced between the psychological and the supernatural, that gets extra credit for not relying on computer effects.
    • 60 Metascore
    • 90 Andrew O'Hehir
    Daybreak
    Masterfully paced and constructed, and the performances are memorable.
    • 80 Metascore
    • 90 Andrew O'Hehir
    Food, Inc.
    An engaging and often wrenching film, Food, Inc. covers a wide range of material, including the horrific, the humorous and the exemplary.
    • 83 Metascore
    • 90 Andrew O'Hehir
    The Day He Arrives
    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
    • 90 Andrew O'Hehir
    Blackfish
    Cowperthwaite builds a portrait of an intelligent but profoundly traumatized animal who was taken from his family in the North Atlantic as an infant, and has been driven to anger, resentment and perhaps psychosis after spending his life in a series of concrete swimming pools.
    • 88 Metascore
    • 90 Andrew O'Hehir
    Tulpan
    What makes Tulpan remarkable are the extended unbroken scenes, both dramatic and comic.
    • 94 Metascore
    • 90 Andrew O'Hehir
    The Lord of the Rings: The Return of the King
    I love Jackson's "Rings" saga despite his propensity for whimsical animation whenever he tries to strike a chord of dread or menace.
    • 65 Metascore
    • 90 Andrew O'Hehir
    When We Leave
    Aladag's point, I think, is that no matter how righteous we may feel about this kind of zero-sum cultural collision, for the human beings involved it often results in unbearable tragedy.
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