For 115 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 5.5 points higher than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
Average review score: 65
Highest review score: 100 Unforgiven
Lowest review score: 25 Basic Instinct
Score distribution:
  1. Positive: 68 out of 115
  2. Negative: 11 out of 115
115 movie reviews
    • 67 Metascore
    • 75 Dave Kehr
    For Keitel, this is the Scorsese film that Scorsese never gave him, in which he gets to elbow Robert De Niro away from center stage and take the best part for himself. He seizes the opportunity: Bad Lieutenant immediately becomes one of the defining roles of his career. [22 Jan 1993, Friday, p.C]
    • 62 Metascore
    • 75 Dave Kehr
    The Abyss is at its best during such moments of reverie-when the abstract metaphors and the unique physicality of the deep sea setting come together to produce powerful, unvoiced meanings. The film does have its beckoning depths; what it needs is a more polished surface. [9 Aug 1989, Tempo, p.1]
    • 70 Metascore
    • 75 Dave Kehr
    Has everything but a personality. [15 July 1988, Friday, p.A]
    • 76 Metascore
    • 75 Dave Kehr
    From his long experience in television, [Reiner] has learned how to create characters with just enough depth to hold together but not so much that they become too individualized, too stubbornly complex. [12 July 1989, Tempo, p.1]
    • 65 Metascore
    • 75 Dave Kehr
    Fully up to, as well as virtually indistinguishable from, its predecessors… The guarantee of Indiana Jones is that the pace never varies and the tone never changes; when you've had enough, you can feel free to leave. [24 May 1989, Tempo, p.1]
    • 69 Metascore
    • 75 Dave Kehr
    Evil Dead 2 is, pardon the expression, consistently lively--a ghoulish splatter comedy that uses wildly excessive gore to provoke the kind of shock that lies between a laugh and a scream. [10 Apr 1987, Friday, p.M]
    • 57 Metascore
    • 75 Dave Kehr
    Much of the movie's charm, in fact, is derived from its sense of its own instant disposability. Raimi has created the cinematic equivalent of fast food-efficient, unassuming and seriously regressive. It may not be much good for you in the end, but consuming it is loads of fun. [19 Feb 1993, Friday, p.C]
    • 73 Metascore
    • 75 Dave Kehr
    Successfully avoids the grandiose mythmaking that has been the bane of the baseball movie from ''Pride of the Yankees'' to ''The Natural.'' Rather than a vapid national epic, it is a warm, droll, deftly cracked romantic comedy. [15 June 1988]
    • 52 Metascore
    • 75 Dave Kehr
    Ishtar is a good movie, but you can't help but wonder if, lurking somewhere in those cans of outtakes, there isn't a great movie, too. [15 May 1987]
    • 52 Metascore
    • 75 Dave Kehr
    There are still some astonishingly tender moments, including looks exchanged between Swayze and Moore that seem magically divorced from this summer of exploding jets, severed limbs and homicidal children. [13 July 1990, Friday, p.D]
    • 67 Metascore
    • 75 Dave Kehr
    For all the film's popped eyeballs and severed limbs, Beetlejuice retains an innocence that makes the grotesque humor very appealing. Burton has captured the sweet ghoulishness of a 12-year-old pouring over horror comics, dreaming of the greatest Halloween costume ever invented. [30 Mar 1988]
    • 66 Metascore
    • 75 Dave Kehr
    Burton's Gotham City-constructed on a massive sound stage in London- is a striking blend of spindly gothic, decaying art deco and broodingly bland institutional architecture that seems to lie just a couple of subway stops down from Ridley Scott's ''Blade Runner'' and Terry Gilliam's ''Brazil.'' It's great to look at, but we seem to have been here before. [23 June 1989, Friday, p.A]
    • 68 Metascore
    • 75 Dave Kehr
    Given the complexity of attitudes and the ambiguous take on the family represented in such Spielberg films as “E.T.'' and “Poltergeist,'' the bland affirmations of Jurassic Park seem platitudinous and insincere. He's forcing it here, and it shows. [11 June 1993, Friday, p.A]
    • 68 Metascore
    • 75 Dave Kehr
    A good summer movie, directed with great verve and imagination and filled with innovative, eye-popping effects. Cameron never relinquishes his grip on the audience, smoothly segueing from action sequence to action sequence and topping himself each time. [3 July 1991, Tempo, p.1]
    • 65 Metascore
    • 75 Dave Kehr
    A shapely film, considered and concise. And if its rhetorical slickness eventually covers up its emotional core, that slickness has a pleasure all its own. [21 August 1987]
    • 77 Metascore
    • 75 Dave Kehr
    The Princess Bride wants to be sweet and warm, but it doesn't want to take the chance of seeming uncool -- and that is an attitude far, far removed from innocence. [9 Oct 1987]
    • 65 Metascore
    • 75 Dave Kehr
    Though it's well directed, written and performed, Rain Main still slips irreversibly into the so-what category. [16 Dec 1988]
    • 57 Metascore
    • 75 Dave Kehr
    As shrewd and accomplished as the movie is, there's still something uncomfortably manipulative about it... It doesn't explore its primal theme as much as it exploits it, tapping into the automatic, nearly universal power of guilt and regret. [21 Apr 1989, Friday, p.A]
    • 62 Metascore
    • 75 Dave Kehr
    Works because it's able to draw so many side issues into its central conflict, spreading its concerns culture-wide. [11 Dec 1992]
    • 76 Metascore
    • 75 Dave Kehr
    A hesitant, conservative approach that yields great elegance and a rhythm that carries the viewer along. Yet the film is haunted by a sense of opportunities not taken, of an artist deliberately reining in his artistry. [9 Dec 1987, p.2]
    • 55 Metascore
    • 75 Dave Kehr
    Valmont is a superb piece of craftsmanship, impeccable in every detail from lighting to costuming, but as a work of art it remains tentative and blurred. [17 Nov 1989]
    • 71 Metascore
    • 75 Dave Kehr
    It's a movie of a thousand pleasures - of glinting insights and sly twists. [19 Aug 1988]
    • 51 Metascore
    • 75 Dave Kehr
    It's an admirable attempt, though a less than completely successful one. The film's disappointments lie not so much in Almodovar's controlled, respectful direction as in the strange gaps and displacements of his screenplay, which never seems to supply the scenes we most want to see. [20 Dec 1991]
    • 74 Metascore
    • 75 Dave Kehr
    The late '40s world Coppola has put together for Tucker is an extremely stylized one: Vittorio Storaro's cinematography has the bright, hard, almost lacquered look of old Technicolor; Dean Tavoularis' sets, built with slanting floors and surfaces, create an imaginary, compacted space in which actors and objects seem to be thrusting out toward the camera; and the transitions between scenes, based on visual rhymes and elaborate wipes, effectively remove the movie from the orderly flow of normal film time. [12 Aug 1988]
    • 62 Metascore
    • 75 Dave Kehr
    There's little doubt that Jacob's Ladder is a failure-it's a messy, unsatisfying and often overreaching film-yet it fails in interesting, ambitious ways. It's a must-see disaster. [2 Nov 1990, p.C]
    • 51 Metascore
    • 75 Dave Kehr
    The film's real subject is the unacknowledged intensity of the father-daughter bond and the difficulty of separation, though Shyer, true to his name, shies away from the more painful implications of the material. [20 Dec 1991, p.B]
    • 45 Metascore
    • 75 Dave Kehr
    Boomerang, a sleek, confident and very funny urban comedy that may not entirely overcome Murphy's more discomfiting tendencies, but at least manages to put them to good use. [01 Jul 1992]
    • 56 Metascore
    • 75 Dave Kehr
    It's a particularly great pleasure to encounter Quick Change, a wonderfully loose and graceful character comedy. [13 Jul 990, p.C]
    • 61 Metascore
    • 75 Dave Kehr
    Kindergarten Cop never feels mercenary in the manner of, say, "Look Who's Talking Too" or "Three Men and a Little Lady." It is, instead, an extremely amiable, good-hearted film, unashamed of its desire to please and quite entertaining for it. [21 Dec 1990, p.B]
    • 71 Metascore
    • 75 Dave Kehr
    Postcards From the Edge is alive only when it's being as mean and vicious as its little heart can be, which is more than often enough. [12 Sep 1990, p.1]