For 552 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 4.4 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Fly
Lowest review score: 0 Cupid's Mistake
Score distribution:
552 movie reviews
    • 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.
    • 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)
    • 100 Metascore
    • 100 Dave Kehr
    The result was one of Bergman's most haunting and suggestive films.
    • 99 Metascore
    • 100 Dave Kehr
    An enduring masterpiece--dark, deep, beautiful, aglow.
    • 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.
    • 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]
    • Chicago Tribune
    • 93 Metascore
    • 70 Dave Kehr
    The film was hugely successful and widely praised in its time, though it's really nothing more than the old C.B. De Mille formula of titillation and moralizing--Roman orgies and Christian martyrs--with only a fraction of De Mille's showmanship.
    • 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.
    • 93 Metascore
    • 100 Dave Kehr
    The result is a film that hovers just beyond our grasp--mysterious, beautiful, and, very possibly, a masterpiece.
    • 92 Metascore
    • 40 Dave Kehr
    As LaMotta, Robert De Niro gives a blank, soulless performance; there's so little of depth or urgency coming from him that he's impossible to despise, or forgive, in any but the most superficial way.
    • 92 Metascore
    • 90 Dave Kehr
    An excellent film, still as fresh as the day it was made.
    • 91 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.
    • 91 Metascore
    • 80 Dave Kehr
    Patton's personality--conveyed with pointed theatrical flair by George C. Scott--is registered in rich tones of grandeur and megalomania, genius and petty sadism.
    • 90 Metascore
    • 30 Dave Kehr
    Travels fast and straight down a linear plot, and the ceaseless rush quickly becomes monotonous.
    • 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.
    • 90 Metascore
    • 100 Dave Kehr
    Though ordained from the beginning, the three-way showdown that climaxes the film is tense and thoroughly astonishing.
    • 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
    • 80 Dave Kehr
    In these risk-averse times, it is a pleasure to see a film that fails by attempting too much. Frustrating and demanding as it may be, La Commune (Paris, 1871) is essential viewing for anyone interested in taking an exploratory step outside the Hollywood norms.
    • 89 Metascore
    • 80 Dave Kehr
    It's 88 minutes of solid, inventive music, filmed in a straightforward manner that neither deifies the performers nor encourages an illusory intimacy, but presents the musicians simply as people doing their job and enjoying it.
    • 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.
    • 88 Metascore
    • 50 Dave Kehr
    Graham Greene's screenplay is centered on the pivotal moment when a child first discovers sin, but the boy's perspective is neglected in favor of facile suspense structures and a thuddingly conventional whodunit finale.
    • 87 Metascore
    • 80 Dave Kehr
    The extraordinary child actress Ana Torrent (Cria) made her debut here at the age of five. Much in the film is derivative, but Erice excels in precise evocations of childhood feelings.
    • 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.
    • 87 Metascore
    • 60 Dave Kehr
    There are several solid laughs and some excellent supporting performances. But this is a film to be wary of.
    • 87 Metascore
    • 80 Dave Kehr
    Director James Cameron dumps the decorative effects of Ridley Scott's 1979 Alien in favor of some daring narrative strategies and a tight thematic focus.
    • 86 Metascore
    • 90 Dave Kehr
    If Mr. Ghobadi's dominant theme is the devastation of the Kurds, his subdominant tone is one of strength, resistance and fertility.
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 86 Metascore
    • 70 Dave Kehr
    The film may be a relic now, but it is a fascinating souvenir - particularly in its narcissism and fatalism - of how the hippie movement thought of itself. [Review of re-release]