For 126 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 5.2 points higher than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
Average review score: 64
Highest review score: 100 Unforgiven
Lowest review score: 25 Swing Kids
Score distribution:
  1. Positive: 74 out of 126
  2. Negative: 12 out of 126
126 movie reviews
    • 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]
    • 83 Metascore
    • 100 Dave Kehr
    Brilliantly funny, bracingly smart and surprisingly moving. [22 June 1988]
    • 82 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]
    • 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]
    • 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]
    • 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]
    • 86 Metascore
    • 88 Dave Kehr
    Complex, knotty and at times even uncomfortable; its world has a weight and heft that makes its ultimate romanticism seem genuinely transcendant, genuinely magical. [14 April 1989]
    • 52 Metascore
    • 88 Dave Kehr
    And yet there is enough of a core of sincerity to turn even the most preposterous moments-such as the film's dream-sequence finale-into something moving and true: You buy the feelings, even as the situations degenerate into the ludicrous and absurd. [17 Aug 1990, Friday, p.C]
    • 78 Metascore
    • 88 Dave Kehr
    Graciously filmed by Martin Brest and imaginatively performed by Robert De Niro and Charles Grodin, the tired concept yields a steady stream of little discoveries and surprising insights that add up to some uncommonly rich comedy. [20 July 1988]
    • 93 Metascore
    • 88 Dave Kehr
    Irons' Von Bulow is easily the most attractive and entertaining movie heavy since James Mason's villain in ''North by Northwest,'' a figure with whom he shares a taste for elegant homes and wry understatement. [17 Oct 1990]
    • 74 Metascore
    • 88 Dave Kehr
    Strange, funny and powerfully moving… Burton has found a way to move through camp to emotional authenticity, to communicate-through a concentration of style and an innocence of regard-a depth and sincerity of feeling that his deliberately (and often, comically) flat characters could not summon on their own. [14 Dec 1990, Friday, p.C]
    • 86 Metascore
    • 88 Dave Kehr
    It's almost too rich in ideas for its own good: The sense of concentration and proportion isn't there. But it remains an astonishing, magnetic, devastating piece of work. [23 Sept 1988]
    • 76 Metascore
    • 88 Dave Kehr
    Hugely funny, but it's also liberating-precisely because it centers its aim on that cold, closed system and blows it apart. The straight lines are shattered; the empty spaces in the images are packed full until they burst. [2 Dec 1988]
    • 78 Metascore
    • 88 Dave Kehr
    The film has undeniable power, but it's an unusual and unsettling power, a product of a collision between red-hot material and the cool serenity with which Kubrick observes and accepts it. [26 June 1987]
    • 82 Metascore
    • 88 Dave Kehr
    A study of junkie culture from the inside (not a fashionable point of view these days), Drugstore Cowboy is funny, depressive and strangely noble, often all at once. [27 Oct 1989]
    • 84 Metascore
    • 88 Dave Kehr
    Broadcast News is the crispest, classiest entertainment; it has what Hollywood has been missing. [16 Dec 1987, p.8]
    • 50 Metascore
    • 88 Dave Kehr
    Charlie, who owes an obvious debt to Chuck Jones' Wile E. Coyote, comes equipped with one of the most expressive faces in cartoon history: Bluth keeps his features-ears, snout, mouth, eyes-in constant flux, a beautiful blend of line and volume that represents the pinnacle of the animator's art. [17 Nov 1989]
    • 50 Metascore
    • 88 Dave Kehr
    It's the film in which an entertainer at last becomes an artist, dealing with manifestly personal, painful emotions and casting them in a form that gives them philosophical perspective and universal affect. It's Spielberg's finest achievement, a film that will look better and better with the passage of time. [22 Dec. 1989]
    • 84 Metascore
    • 88 Dave Kehr
    It's this balance of vivid performance and directorial detachment that allows Leigh to move freely between delicate sentiment and highly caustic wit; even in his most harshly satirical moments, he never denies the humanity of his characters.
    • 68 Metascore
    • 88 Dave Kehr
    The Witches of Eastwick is filmmaking of a very high order; it's also a great time at the movies.
    • 66 Metascore
    • 75 Dave Kehr
    The Coens have technique and they have taste; what they do not yet have is the ability to move beyond their handsome imagery to the human center of their material. [5 Oct 1990, Friday, p.C]
    • 56 Metascore
    • 75 Dave Kehr
    Pretty silly. The Hot Spot certainly is, and it's occasionally quite entertaining for it, though the picture never really achieves a dimension beyond that of a Playboy Party Joke. [26 Oct 1990, Friday, p.I]
    • 79 Metascore
    • 75 Dave Kehr
    It can't be easy to keep a comedy on track when the underlying emotions are so vicious, and indeed DeVito's staging slips more than once -- too realistic here, too broad there -- resulting in a film that is at least as often funny-peculiar as it is funny-haha. [8 Dec 1989]
    • 86 Metascore
    • 75 Dave Kehr
    Sex, lies, and videotape discovers a distinctive, laconic rhythm right from the start, thanks to Soderbergh's taste for holding his shots just a bit longer than conventional, slick editing technique would allow. [11 Aug 1989, Friday, p.A]
    • 66 Metascore
    • 75 Dave Kehr
    Even and assured, Colors may not descend to the sloppy, indulgent depths of ''Easy Rider'' and ''The Last Movie,'' but neither does it rise to the delirious, dangerous heights of those films. [15 Apr 1988]
    • 53 Metascore
    • 75 Dave Kehr
    The film's frequent longeurs, compulsive over-explicitness and unshakably morose hero seem like so many insistently ''literary'' qualities, ostentatiously laid over a cute, cartoonish vision that suggests not so much Anne Tyler as the affectionate quirkiness of ''The Mary Tyler Moore Show.'' [6 Jan 1989, Friday, p.A]
    • 73 Metascore
    • 75 Dave Kehr
    The sheer outrageousness of its attitude is enough to make Heathers a very welcome relief in a field dominated by sanctimonious and second-hand virtue. [31 March 1989]
    • 56 Metascore
    • 75 Dave Kehr
    Besson is an accomplished technician, and his choice of shots-with an emphasis on bizarre, low angles, darting camera movements and large, abstract color fields-is consistently entertaining if not particularly expressive. [3 Apr 1991, Tempo, p.3]
    • 76 Metascore
    • 75 Dave Kehr
    There is enough intelligence and craftsmanship in the execution of Hoosiers to make it seem, if not exactly fresh, at least respectably entertaining. [27 Feb 1987, Friday, p.A]
    • 52 Metascore
    • 75 Dave Kehr
    The looniest movie of the season and also one of the most engaging. [7 Nov 1988]