For 553 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Badlands
Lowest review score: 0 Vulgar
Score distribution:
553 movie reviews
    • 55 Metascore
    • 30 Dave Kehr
    Though we are largely spared Leonard Nimoy's stentorian presence as a performer, we must endure his miscalculations as a director: the dialogue scenes are often hilariously turgid; the action scenes—when Nimoy can be bothered to descend from his podium and film them—are zanily maladroit.
    • 22 Metascore
    • 30 Dave Kehr
    Remains a sadly earthbound thing, mired in a dismal realism that lies far from its natural environment.
    • 22 Metascore
    • 30 Dave Kehr
    A ski party movie in which the clothes are a little more revealing than they were 35 years ago, the practical jokes are a little more tasteless, and the uncertainty over sex is pretty much nonexistent.
    • 47 Metascore
    • 30 Dave Kehr
    Tricked up with an elaborate flashback structure, subtitled dialogue in three languages and as many gratuitous aesthetic touches as the traffic will bear, Proteus emerges as a heavy, pretentious and derivative film.
    • 46 Metascore
    • 30 Dave Kehr
    Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
    • 34 Metascore
    • 30 Dave Kehr
    Mr. Girod is a fish out of water in the after-hours clubs and deserted industrial districts that constitute the sexual underworld of Brussels. His film feels more like what one would see from the top of a double-decker tourist bus than the work of someone who has immersed himself in a sexual subculture and its particular values.
    • 48 Metascore
    • 30 Dave Kehr
    Robert Altman's busy, detailed mise-en-scene, flattened cartoon-style through space-compacting long lenses, does capture some of the frenetic atmosphere of the Fleischer cartoons, but it tends to crowd out, and neutralize, the story values.
    • 33 Metascore
    • 30 Dave Kehr
    Starts on a note of relative naturalism and under Mr. La Salle's nuanced direction gradually becomes more and more unhinged until it concludes in an altogether different genre.
    • 36 Metascore
    • 30 Dave Kehr
    Quickly collapses into an overloaded, slow-moving series of predictable jokes and forced situations.
    • 24 Metascore
    • 30 Dave Kehr
    The results, to judge from the examples here, have been stuffy and disappointing, an unholy alliance between Playboy Channel prurience and PBS cultural alibis.
    • 36 Metascore
    • 30 Dave Kehr
    The murder-mystery board game becomes a frantic, unfunny spoof (1985) under the direction of British TV writer Jonathan Lynn. The script recycles Agatha Christie's Ten Little Indians, with six guests invited by a mysterious host to spend the night in a creepy mansion, but instead of parodying the material Lynn simply surrounds it with extraneous pratfalls and wisecracks.
    • 29 Metascore
    • 30 Dave Kehr
    Mr. Piccirillo's direction reflects a basic knowledge of stagecraft but no discernable sense of filmmaking. The dull television-style close-ups march relentlessly across the screen, leaving only the ghostly trails of badly transferred video images behind.
    • 44 Metascore
    • 30 Dave Kehr
    Seems a little too desperate to be liked.
    • 41 Metascore
    • 30 Dave Kehr
    Credibility, of course, wouldn't matter if the gags were good enough, which they are not. The film quickly falls back on the gross-out jokes that have made recent American comedies such a challenge to the digestive tract.
    • 24 Metascore
    • 30 Dave Kehr
    Less interested in politics than in profitably flattering the suspicions and resentments of its intended teenage audience.
    • 90 Metascore
    • 30 Dave Kehr
    Travels fast and straight down a linear plot, and the ceaseless rush quickly becomes monotonous.
    • 45 Metascore
    • 30 Dave Kehr
    The question remains: why work so hard to make something deliberately bad, when the world is hardly running a shortage of mediocre movies?
    • 49 Metascore
    • 30 Dave Kehr
    Less a formal documentary than a rambling screed.
    • 38 Metascore
    • 30 Dave Kehr
    Rather than exhilaration, this bilious film offers only entrapment and despair. It's about as much fun as sitting in on an autopsy.
    • 40 Metascore
    • 30 Dave Kehr
    This time Mr. Burns is trying something in the Martin Scorsese street-realist mode, but his self-regarding sentimentality trips him up again.
    • 60 Metascore
    • 30 Dave Kehr
    It's a failure, less because the odd stylistic mix doesn't take (it does from time to time, and to striking effect) than because Landis hasn't bothered to put his story into any kind of satisfying shape.
    • 66 Metascore
    • 30 Dave Kehr
    Director John Landis is so deficient in basic storytelling skills that he must spend hours explicating the most elementary plot points while and Murphy are sidelined.
    • 35 Metascore
    • 30 Dave Kehr
    Disappointingly shallow and not terribly funny romantic comedy.
    • 26 Metascore
    • 30 Dave Kehr
    The film dissolves into a series of diminishing anticlimaxes, ending on a note of portentous ambiguity. To the last, Mr. Levin maintains his uneasy balance of reportage and melodrama.
    • 27 Metascore
    • 30 Dave Kehr
    A bland, half-finished film that seems to have been conceived as off-peak cable fodder.
    • 63 Metascore
    • 30 Dave Kehr
    The action is clotted and murky, and Coppola obviously hasn't bothered to clarify it for the members of his cast, who wander through the film with expressions of winsome, honest befuddlement.
    • 32 Metascore
    • 30 Dave Kehr
    Mr. Allen's work is compromised by an apparent inability to match his shots in a spatially coherent fashion. It's never easy to tell who is chasing whom and in which direction, a needless confusion that dampens many of the thrills and scuttles quite a few gags.
    • 34 Metascore
    • 30 Dave Kehr
    Instantly forgettable film.
    • 48 Metascore
    • 30 Dave Kehr
    Mr. Cattaneo restricts himself to the smiling blandness that has become the stock in trade of British comedies made for export, turning in a film that is forced, familiar and thoroughly condescending.
    • 75 Metascore
    • 30 Dave Kehr
    Woody Allen's naive notions of art--he thinks it means a story with a moral--might have some primitive charm if he didn't put them forward so self-importantly.

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