For 92 reviews, this critic has graded:
  • 53% higher than the average critic
  • 5% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 9.8 points higher than other critics. (0-100 point scale)

Dave Calhoun's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Pride
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Positive: 48 out of 92
  2. Negative: 1 out of 92
92 movie reviews
    • 53 Metascore
    • 60 Dave Calhoun
    If its script is a little unwieldy and overwrought at times, Broken is still a work of delightful moments and strong promise for many of those involved. Norris works hard to inject some joy and wonder into what could easily be a much more dark and miserable experience.
    • 51 Metascore
    • 60 Dave Calhoun
    Luckily, there are just enough truths about ageing beneath its corny, farcical surface. Also, it’s hard not to enjoy two hours in the company of this cast.
    • 67 Metascore
    • 60 Dave Calhoun
    Thematically, White Elephant is a vague animal and its true interest never truly comes into focus.
    • 75 Metascore
    • 60 Dave Calhoun
    If the crime element feels like little more than a red herring, it’s the characters that give the film its appeal.
    • 72 Metascore
    • 60 Dave Calhoun
    There are no great upsets or fireworks here, just a tender sketch of what it means to (probably) be gay as a school kid. The storytelling style is as inoffensive as the music (Arvo Pärt, Belle and Sebastian), and the performances are amiable and relaxed.
    • 55 Metascore
    • 60 Dave Calhoun
    The unusually extended shooting period and Winterbottom’s decision to cast siblings as the kids make for a strangely intimate and powerful depiction of time passing and the peaks and troughs of childhood.
    • 66 Metascore
    • 60 Dave Calhoun
    Beyond the shocks and games, there's not a great deal to take away in the form of meaty ideas or lingering themes, and its catchy premise doesn't really deliver in the end.
    • 94 Metascore
    • 60 Dave Calhoun
    Luckily, Hawke and Delpy remain as charming as ever, and their combined goofiness is more endearing than annoying. Winning, too, is the sense that this peculiar project, though imperfect, could grow old with its audience and its cast.
    • 69 Metascore
    • 60 Dave Calhoun
    The film’s said to be autobiographical, but that’s entirely left to us to guess.
    • 79 Metascore
    • 60 Dave Calhoun
    Only Lovers Left Alive drags its feet and shows serious signs of anaemia as a story.
    • 54 Metascore
    • 60 Dave Calhoun
    Cloying at times – but always good-natured.
    • 50 Metascore
    • 60 Dave Calhoun
    It’s anarchic, sometimes amusing, intermittently tedious, with ideas about digital alienation and the corruption of technology that too often feel blunt and tired.
    • 61 Metascore
    • 60 Dave Calhoun
    There are times when it feels underpowered or unfocused... but this is an intelligent, sensitive debut.
    • 68 Metascore
    • 60 Dave Calhoun
    Ayoade tips his hat to so many other filmmakers and writers that he leaves little room to consider anything other than what a good job he’s doing of distilling all his references into an effective Pinterest board of paranoia and alienation.
    • 67 Metascore
    • 60 Dave Calhoun
    What stops David Cronenberg’s grotesque noir Maps to the Stars, written by LA insider Bruce Wagner, from feeling tired is that it’s deliciously odd.
    • 63 Metascore
    • 60 Dave Calhoun
    It's to Ozon's credit that he never serves up easy answers.
    • 83 Metascore
    • 60 Dave Calhoun
    '71
    Demange is a strong storyteller and masks the script’s tendency to nod to every opinion and social division by offering a masterclass in tension as soon as his dramatic bomb starts ticking.
    • 58 Metascore
    • 60 Dave Calhoun
    Let’s not kid ourselves: cast-iron interpretations of Malick’s recent filmmaking are risky. It’s also a matter of taste. You either slip into the pretty, dreamlike, wistful groove of his later films or you don’t, and even hardened arthouse film lovers may find Knight of Cups way out of their comfort zone.
    • 49 Metascore
    • 60 Dave Calhoun
    It’s adequate and often fun, but no match for Cumberbatch’s talents: physically, his Assange is far more complex and intriguing than most of the things we hear him say or see him do.
    • 76 Metascore
    • 60 Dave Calhoun
    Hats off to Dreamworks for offering some bold surprises in a respectable sequel filled with moments of humour and emotion among its ample noise and movement.
    • 62 Metascore
    • 40 Dave Calhoun
    Burton lets Waltz run wild, sucking the air out of every scene with his hysterics, and the always-endearing Adams is left looking like a rabbit in the headlights.
    • 39 Metascore
    • 40 Dave Calhoun
    Sentimental and shallow, although just passable as a kids’ movie.
    • 77 Metascore
    • 40 Dave Calhoun
    The Immigrant promises rich territory to explore, but in the execution it’s overly stately, dreary and unconvincing.
    • 35 Metascore
    • 40 Dave Calhoun
    [A] baggy revenge thriller consisting of short violent set pieces interspersed with far too many talky debates about the morality of protecting a killer.
    • 85 Metascore
    • 40 Dave Calhoun
    It’s intricate and often mature as drama, but it’s also meandering and at times heavy-handed, even melodramatic, and the tight control of time, place and action which made ‘A Separation’ so gripping is just not there.
    • 35 Metascore
    • 40 Dave Calhoun
    The thriller tendencies here are as half-cocked as its compassion for the struggles of parenthood, even if there are some admirable, if hard-to-watch, moments when Bier refuses to turn away from horror and pain.
    • 32 Metascore
    • 40 Dave Calhoun
    This limp, sometimes lifeless business-trip comedy can’t decide whether to aim for teenage boys or their fathers. So it plumps for – and misses – both.
    • 36 Metascore
    • 40 Dave Calhoun
    Beneath the well-tuned atmospherics lurks a schlocky, fairly ludicrous and pretty distasteful yarn that ultimately puts the stress in all the wrong places.
    • 21 Metascore
    • 40 Dave Calhoun
    Grace of Monaco could have been a camp delight, but it feels too much like a stodgy, outdated television movie to work even as kitsch.
    • 55 Metascore
    • 40 Dave Calhoun
    There are only so many scenes anyone can take of Law (never suited to the geezer role) strutting down streets shooting his gob off. If it was all in service of a smart story, so be it. But it isn’t.

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