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Andrew O’Hehir (page 31)

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Andrew O'Hehir is executive editor of Salon, and has been a writer and editor at the pioneering online news site since 1997, including many years as a film and cultural critic. He was previously an editor at SPIN magazine and was editor of the award-winning SF Weekly in the mid-1990s. He has also written for the New York Times, the Washington Post, Nautilus, Sight and Sound, Elle China, the Times (U.K.) and other publications.

Tina Fey and Jason Bateman in "This Is Where I Leave You" (Warner Bros. Pictures)

“This Is Where I Leave You”: Terrific cast almost rescues turgid middlebrow crap

Andrew O'Hehir
Dan Stevens in "The Guest" (Picturehouse)

“The Guest”: “Downton Abbey” heartthrob wreaks havoc on America

Andrew O'Hehir
Ray Rice (AP/Nick Wass)

Football, violence and America’s cultural divide

Andrew O'Hehir
(AMC)

The “death of adulthood” is really just capitalism at work

Andrew O'Hehir
James Gandolfini and Tom Hardy in "The Drop"

“The Drop”: A masterful Brooklyn thriller — and James Gandolfini’s terrific final role

Andrew O'Hehir
James McAvoy and Jessica Chastain in "The Disappearance of Eleanor Rigby" (The Weinstein Company)

“The Disappearance of Eleanor Rigby”: A mesmerizing marriage drama — in three different versions

Andrew O'Hehir
Bill Hader and Kristen Wiig in "The Skeleton Twins" (Sundance Institute)

“The Skeleton Twins”: Kristen Wiig and Bill Hader go dark in a potent sibling dramedy

Andrew O'Hehir

From 9/11 to the ISIS videos: The darkness we conjured up

Andrew O'Hehir
Emily Browning in "God Help the Girl" (Amplify Releasing)

“God Help the Girl”: An irresistible pop musical from Belle and Sebastian’s Stuart Murdoch

Andrew O'Hehir

“Last Days in Vietnam”: Is the humiliation of 1975 about to be repeated?

Andrew O'Hehir
Willis Earl Beal in "Memphis"

“Memphis” and the beauty of plotless movies

Andrew O'Hehir
(<a href='http://www.shutterstock.com/gallery-59783p1.html'>ARENA Creative</a>, <a href='http://www.shutterstock.com/gallery-63555p1.html'>Paul Matthew Photography</a> via <a href='http://www.shutterstock.com/'>Shutterstock</a>/Salon)

Why acknowledging white privilege is not surrendering to “white guilt”

Andrew O'Hehir
Jean-Louis Trintignant and Stefania Sandrelli in "The Conformist"

“The Conformist”: An unsettling political masterpiece returns

Andrew O'Hehir
Chloë Sevigny in "The Cosmopolitans" (Amazon Studios/David Koskas)

“The Cosmopolitans”: A late-summer Parisian confection

Andrew O'Hehir
John Hawkes and Jennifer Aniston in "Life of Crime" (Roadside Attractions)

“Life of Crime”: Jennifer Aniston stars in a black-comic Labor Day surprise

Andrew O'Hehir
(<a href='http://www.shutterstock.com/gallery-557335p1.html'>Prixel Creative</a> via <a href='http://www.shutterstock.com/'>Shutterstock</a>)

White privilege: An insidious virus that’s eating America from within

Andrew O'Hehir
Alfred Molina and John Lithgow in "Love Is Strange"

“Love Is Strange”: More than a gay-marriage story, a gorgeous fable of American life

Andrew O'Hehir
Mark Duplass and Elizabeth Moss in "The One I Love"

Couple’s therapy gone wrong: “The One I Love” and the creative starvation of American indie film

Andrew O'Hehir
Françoise Dorléac and Jean-Paul Belmondo in "That Man From Rio."

“That Man From Rio”: a stylish and conflicted French ancestor to Indiana Jones

Andrew O'Hehir
Artist Daniel Richter in "Expedition to the End of the World"

“Expedition to the End of the World”: A spectacular voyage toward doomsday

Andrew O'Hehir
(AP)

Ferguson’s weaponized cops and America’s long, ugly history of police violence

Andrew O'Hehir
Rob Brydon and Steve Coogan in "The Trip to Italy" (Sundance Institute)

“The Trip to Italy”: A deceptively genius road-trip romp

Andrew O'Hehir
Jeff Bridges and Brenton Thwaites in "The Giver" (The Weinstein Company)

“The Giver”: A lukewarm dystopia that arrives years too late

Andrew O'Hehir

“Dinosaur 13”: Why Fox News would have had a field day with T.rex

Andrew O'Hehir
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