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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    • 42 Metascore
    • 70 Andrew O'Hehir
    Lazer Team
    Lazer Team is a pastiche based on a beloved pattern; it understands its own limitations but seeks to maximize its potential. All the characters are presented with immense affection and offered the chance to grow and develop, by which I mean to be gifted with inexplicable superpowers, to be repeatedly struck in the groin area by projectiles and to be mocked by others for their moments of vulnerability.
    • 77 Metascore
    • 100 Andrew O'Hehir
    While We're Young
    It’s a lot easier to convey the broad-brush satirical flourishes of While We’re Young than to explain the subtler and sometimes darker threads of meaning that run through it.
    • 76 Metascore
    • 90 Andrew O'Hehir
    What We Do in the Shadows
    For a loose-limbed spoof with no real plot, “What We Do in the Shadows” is startlingly effective at creating characters we care about, which testifies to the fact that Clement and Waititi have created a world with clear governing laws (albeit ridiculous ones) and never violate those parameters.
    • 69 Metascore
    • 100 Andrew O'Hehir
    Welcome to Me
    This is a tragicomic fable about an all-too-real social predicament rather a wish-fulfillment fantasy, and the tragic result may be that hardly anyone notices how good it is, or the sickest, weirdest, most triumphant performance of Wiig’s career.
    • 56 Metascore
    • 50 Andrew O'Hehir
    Joy
    From a narrative and cinematic point of view, the problem with Joy is simple. Russell is almost totally uninterested in the story of how Joy Mangano explored a bizarre and unknown new business model and became its first self-made tycoon, and as a result we aren’t interested either.
    • 76 Metascore
    • 40 Andrew O'Hehir
    The Revenant
    For a while, at least, this one feels like Iñárritu’s masterpiece, until that familiar too-muchness begins to take over.
    • 68 Metascore
    • 80 Andrew O'Hehir
    The Hateful Eight
    My personal view is that Quentin Tarantino is now permanently high on his own supply, but you could just as well say that he has succeeded in reinventing the art film. Is it worth it to put yourself through the brutal and incoherent three-hour ordeal of The Hateful Eight for its moments of brilliance and its ultimate catharsis? Jesus, don’t look at me.
    • 91 Metascore
    • 100 Andrew O'Hehir
    Son of Saul
    Son of Saul is a work of superlative filmmaking craft and moral intensity.
    • 80 Metascore
    • 40 Andrew O'Hehir
    Star Wars: Episode VII - The Force Awakens
    You can choose to understand The Force Awakens as an embrace of the mythological tradition, in which the same stories recur over and over with minor variations. Or you can see it as the ultimate retreat into formula.... There are moments when it feels like both of those things, profound and cynical, deeply satisfying and oddly empty.
    • 81 Metascore
    • 90 Andrew O'Hehir
    The Big Short
    With its cartoonish pace, larger-than-life characters and detours into farce and agitprop, this movie captures the accelerated pace of life in the financial markets and the vast scale of their mendacity far more vividly than a naturalistic drama could.
    • 77 Metascore
    • 90 Andrew O'Hehir
    Chi-Raq
    Nick Cannon’s complicated and masterful performance as Chi-Raq, a young man who embodies the contradictions of his community, who is both a perpetrator and a victim of the heartless violence that has surrounded him all his life, accomplishes that.
    • 94 Metascore
    • 100 Andrew O'Hehir
    Carol
    Carol is one of the greatest American screen romances of any era, period – and perhaps that serves as the ultimate vindication of Haynes’ outspoken commitment to “queer cinema.”
    • 65 Metascore
    • 50 Andrew O'Hehir
    The Hunger Games: Mockingjay - Part 2
    It’s also true that toward the end of a big series the story eats the stars, and everybody in this movie, even Jennifer Lawrence as Katniss Everdeen, the Artemis-style revolutionary icon, is pretty much part of the furniture.
    • 45 Metascore
    • 50 Andrew O'Hehir
    By the Sea
    The result is something like a weepy Lifetime melodrama told in the languorous, self-indulgent style of European art cinema, as if Michelangelo Antonioni or Bernardo Bertolucci had wound up in debt to multiple ex-wives and were forced to churn out straight-to-cable movies, circa 1986.
    • 60 Metascore
    • 70 Andrew O'Hehir
    Trumbo
    A clean and agreeable biopic that restores some vitality to a fascinating episode in 20th-century cultural and political history.
    • 51 Metascore
    • 80 Andrew O'Hehir
    Love
    Even with its abundant flaws and its willingness to embarrass itself this strange and extraordinary film never lost me and never let me go; it wrapped me in a dreamlike rapture and then in a sense of profound and nearly universal personal tragedy.
    • 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.
    • 66 Metascore
    • 80 Andrew O'Hehir
    Crimson Peak
    Here’s the thing about Crimson Peak, which is lurid and ghastly and immensely enjoyable and frequently spectacular and also thinner and less substantial than it wants to be, like a meal eaten in a dream.
    • 81 Metascore
    • 80 Andrew O'Hehir
    Bridge of Spies
    Bridge of Spies is itself a form of historical whitewashing, albeit one less noxious and harmful than the customary American variety. I liked the movie a lot – it’s one of Spielberg’s most measured and most adult films in years.
    • 77 Metascore
    • 90 Andrew O'Hehir
    Victoria
    This terrifying, seductive and adrenaline-fueled movie has found a new form of freedom for cinema.
    • 73 Metascore
    • 50 Andrew O'Hehir
    (T)error
    To say that this undercover operation does not go well is an understatement, and the resulting portrait of the domestic anti-terrorism campaign, although it’s admittedly a portrait in miniature, could hardly be more disheartening.
    • 82 Metascore
    • 100 Andrew O'Hehir
    Steve Jobs
    It’s a moving and magnificently crafted story about a person named Steve Jobs who was brought low by pride and arrogance and then redeemed by love. It might be a story that mirrors our dreams and desires, which is what the real Steve Jobs did too, and in that sense maybe it’s indirectly about him. It’s definitely not about a guy who built and sold computers.
    • 70 Metascore
    • 50 Andrew O'Hehir
    The Walk
    The Walk is much less than the sum of its parts, except when the parts are so good you can’t ignore them.
    • 80 Metascore
    • 90 Andrew O'Hehir
    The Martian
    You can argue that the plot of The Martian doesn’t offer many surprises, but this is a movie of innumerable delightful moments and small discoveries, and even more of infectious enthusiasm.
    • 30 Metascore
    • 30 Andrew O'Hehir
    Stonewall
    A well-intentioned, profoundly silly and borderline insulting movie.
    • 80 Metascore
    • 70 Andrew O'Hehir
    Finders Keepers
    The bittersweet conclusion of Finders Keepers suggests that the important question is not whether we can retrieve what is lost or fulfill impossible dreams, but how we respond to those failures.
    • 65 Metascore
    • 80 Andrew O'Hehir
    Pawn Sacrifice
    Pawn Sacrifice sticks admirably close to the facts of that peculiar historical moment, and features a showboat performance from Tobey Maguire as the increasingly disturbed Fischer, along with a more composed one from Liev Schreiber as the taciturn Spassky.
    • 82 Metascore
    • 80 Andrew O'Hehir
    Sicario
    Sicario is a queasy-making thrill ride through Dick Cheney’s Theme Park on the Dark Side, with an enjoyable cast headed by Blunt, Josh Brolin as a bro-tastic but oddly sinister secret agent in flip-flops and Benicio Del Toro as a person of uncertain provenance (is he Mexican? Is he Colombian? Is he CIA?) who is approximately the scariest guy ever.
    • 64 Metascore
    • 70 Andrew O'Hehir
    Sleeping with Other People
    Sleeping With Other People is one of the best and funniest recent attempts to update the rom-com – but the container feels too antiquated for the world it captures, which is so furiously alive.
    • 75 Metascore
    • 90 Andrew O'Hehir
    Time Out of Mind
    It certainly is possible that Gere’s memorable performance as George – one that is far more physical than verbal, and that pushes the star’s legendary charm in unexpected directions – will put him in line for his first Oscar nod. George is never a cliché of homelessness, and neither the actor nor the film ever makes the expected or automatic choices.
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