For 101 reviews, this critic has graded:
  • 51% higher than the average critic
  • 5% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 10.2 points higher than other critics. (0-100 point scale)

Dave Calhoun's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 20,000 Days on Earth
Lowest review score: 20 Only God Forgives
Score distribution:
  1. Positive: 54 out of 101
  2. Negative: 1 out of 101
101 movie reviews
    • 66 Metascore
    • 60 Dave Calhoun
    It’s a film that moves to the convincing rhythm of real life.
    • 55 Metascore
    • 60 Dave Calhoun
    What Luhrmann makes intoxicating is a sense of place – the houses, the rooms, the city, the roads – and the sense that all this is unfolding in a bubble like some mad fable. Where he falters is in persuading us that these are real, breathing folk whose experiences and destinies can move us.
    • 39 Metascore
    • 60 Dave Calhoun
    There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.
    • 87 Metascore
    • 60 Dave Calhoun
    The writing and direction lean towards the obvious, but there’s much to chew on regarding tradition, progress and the power of the white lie.
    • 61 Metascore
    • 60 Dave Calhoun
    If you’ve never been to a burlesque show, now you know what you’re missing. The dedication and warmth of the performers are infectious.
    • 81 Metascore
    • 60 Dave Calhoun
    There are no interviews, characters nor narration, and after an hour it can feel like a chore. Yet the images are staggering.
    • 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.
    • 83 Metascore
    • 60 Dave Calhoun
    Yes, The Lobster is arch: this is cinema in quotemarks, tongue-in-cheek storytelling that uses absurdity to hold a mirror to how we live and love. At its best, it has incisive things to say about how we shape ourselves and others just to banish the fear of being alone, unloved and friendless.
    • 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.
    • 63 Metascore
    • 60 Dave Calhoun
    This slapdash but endearing doc about the rise, fall and resurrection of '80s pop outfit Spandau Ballet is an inside job, packed with strong archive footage yet lacking anything you'd call truly incisive.
    • 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.
    • 54 Metascore
    • 60 Dave Calhoun
    In the end, Love is more silly than sordid, and even a little soppy in its late – too late – love-filled moments. Many teens will love it; most adults will roll their eyes.
    • 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.

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