For 699 reviews, this critic has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Peggy Sue Got Married
Lowest review score: 0 Cupid's Mistake
Score distribution:
699 movie reviews
    • 100 Metascore
    • 100 Dave Kehr
    The result was one of Bergman's most haunting and suggestive films.
    • 96 Metascore
    • 100 Dave Kehr
    A very sophisticated, very effective piece of work spun from primal images, with an excellent cast.
    • 96 Metascore
    • 100 Dave Kehr
    Charlie Chaplin finally got around to acknowledging the 20th century in this 1936 film, which substitutes machine-age gags for the fading Victoriana of his other work. Consequently, it's the coldest of his major features, though no less brilliant for it.
    • 99 Metascore
    • 100 Dave Kehr
    One of the shining glories of the American musical, this 1952 feature was fabricated (by screenwriters Betty Comden and Adolph Green) around a collection of old songs written by producer Arthur Freed and brought to bright, brash, and exuberant life by directors Stanley Donen and Gene Kelly. The setting is Hollywood's troubled transition to sound, and there is just enough self-reflexive content (on the eternal battle between illusion and reality in the movies) to structure the film's superb selection of numbers.
    • 88 Metascore
    • 100 Dave Kehr
    A ferociously creative 1985 black comedy filled with wild tonal contrasts, swarming details, and unfettered visual invention--every shot carries a charge of surprise and delight.
    • 100 Metascore
    • 100 Dave Kehr
    The film's superb first two hours, which weave social and historical themes into rich personal drama, turn out to be only a prelude to the magnificent final hour--an extended ballroom sequence that leaves history behind to become one of the most moving meditations on individual mortality in the history of the cinema. (Review of 1983 Release)
    • 73 Metascore
    • 100 Dave Kehr
    It has wit, originality, color, warmth and formal intelligence. It tempers its escapist dash with a touch of darkness, and for all of its playfulness, never departs from a fundamental seriousness.... Something Wild is superbly unpredictable. [7 Nov 1986]
    • Chicago Tribune
    • 100 Metascore
    • 100 Dave Kehr
    What can you say about the movie that taught you what movies were?...Kane is no longer my favorite Orson Welles film (I'd take "Ambersons," "Falstaff," or "Touch of Evil"), but it is still the best place I know of to start thinking about Welles - or for that matter about movies in general.
    • 97 Metascore
    • 100 Dave Kehr
    Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made. The case for Hitchcock as a modern Conrad rests on this ruthless investigation of the heart of darkness, but the film is uniquely Hitchcockian in its positioning of the godlike mother figure. It's a deeply serious and deeply disturbing work, but Hitchcock, with his characteristic perversity, insisted on telling interviewers that it was a "fun" picture.
    • 80 Metascore
    • 100 Dave Kehr
    Leone brought back a masterpiece, a film that expands his baroque, cartoonish style into genuine grandeur, weaving dozens of thematic variations and narrative arabesques around a classical western foundation myth.(Review of Original Release)
    • 83 Metascore
    • 100 Dave Kehr
    Brilliantly funny, bracingly smart and surprisingly moving. [22 June 1988]
    • Chicago Tribune
    • 93 Metascore
    • 100 Dave Kehr
    The result is a film that hovers just beyond our grasp--mysterious, beautiful, and, very possibly, a masterpiece.
    • 76 Metascore
    • 100 Dave Kehr
    Warren Beatty's shapely 1981 epic, based on the life of radical journalist John Reed, is a stunningly successful application of a novelistic aesthetic—a film that makes full and thoughtful use of its three-and-a-half-hour length to develop characters, ideas, and motifs with a depth seldom seen in movies.
    • 74 Metascore
    • 100 Dave Kehr
    Droll, pungent, and superbly told, Peggy Sue Got Married is more than a return to form for Francis Coppola. It's a film that reveals a new depth, a new sensitivity and a new sureness of technique for the 47-year-old director, a film that marks Coppola's entry into a rich, mature period.
    • 99 Metascore
    • 100 Dave Kehr
    An enduring masterpiece--dark, deep, beautiful, aglow.
    • 90 Metascore
    • 100 Dave Kehr
    A film so rich in ideas it hardly knows where to turn. Transcendent themes of love and death are fused with a pop-culture sensibility and played out against a midwestern background, which is breathtaking both in its sweep and in its banality.
    • 90 Metascore
    • 100 Dave Kehr
    Martin Scorsese transforms a debilitating convention of 80s comedy--absurd underreaction to increasingly bizarre and threatening situations--into a rich, wincingly funny metaphysical farce. A lonely computer programmer is lured from the workday security of midtown Manhattan to an expressionistic late-night SoHo by the vague promise of casual sex with a mysterious blond.
    • 93 Metascore
    • 100 Dave Kehr
    Buñuel conjures with Freudian imagery, outrageous humor, and a quiet, lyrical camera style to create one of his most complex and complete works, a film that continues to disturb and transfix.
    • 87 Metascore
    • 100 Dave Kehr
    With his perfect pacing, elegant narrative design, and depth of characterization, Richard Lester has made as good a matinee movie as could be imagined: it's a big, generous, beautifully crafted piece of entertainment, with the distinctive Lester touch in the busy backgrounds and the throwaway dialogue.
    • 67 Metascore
    • 100 Dave Kehr
    Though much of Naked Lunch is flip, hip and hilariously funny, it never wanders far from a profoundly melancholic undertone - Cronenberg's unshakable sense of loneliness, isolation and anxiety. [10 Jan 1992]
    • Chicago Tribune
    • 90 Metascore
    • 100 Dave Kehr
    Though ordained from the beginning, the three-way showdown that climaxes the film is tense and thoroughly astonishing.
    • 100 Metascore
    • 100 Dave Kehr
    Perhaps the greatest and most revolutionary of Bresson's films, Balthazar is a difficult but transcendently rewarding experience, never to be missed.
    • 92 Metascore
    • 100 Dave Kehr
    An exhilarating update of "Flash Gordon," very much in the same half-jokey, half-earnest mood, but backed by special effects that, for once, really work and are intelligently integrated with the story.
    • 79 Metascore
    • 100 Dave Kehr
    David Cronenberg's The Fly is that absolute rarity of the '80s: a film that is at once a pure, personal expression and a superbly successful commercial enterprise. [15 Aug 1986]
    • Chicago Tribune
    • 77 Metascore
    • 100 Dave Kehr
    Beautifully wrought, darkly funny and finally devastating, My Own Private Idaho almost single-handedly revives the notion of personal filmmaking in the United States. [18 Oct 1991]
    • Chicago Tribune
    • 85 Metascore
    • 100 Dave Kehr
    This dark, melancholic film is a reminder -- never more necessary than now -- of what the American cinema is capable of, in the way of expressing a mature, morally complex and challenging view of the world. [7 Aug 1992]
    • 92 Metascore
    • 90 Dave Kehr
    An excellent film, still as fresh as the day it was made.
    • 84 Metascore
    • 90 Dave Kehr
    The film represents a studied, sophisticated approach to instinctual emotions: it's carefully, calculatingly naive, and amazingly it works.
    • 75 Metascore
    • 90 Dave Kehr
    A more concise and affecting summation of the Tibetan crisis would be hard to imagine.
    • 68 Metascore
    • 90 Dave Kehr
    For once a comedy in the Animal House school that knows what it's was about: the vulgarity of the gags matches the vulgarity of the subject, and this 1980 film becomes a fierce, cathartically funny celebration of the low, the cheap, the venal—in short, America. Most of the time, I didn't know whether to laugh or shudder, and I ended up doing a lot of both. It was Steve Martin who said, “Comedy isn't pretty,” but it's Robert Zemeckis and Bob Gale, the writer-directors here, who prove it; this is the Dawn of the Dead of slapstick.

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