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 4.5 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Fanny and Alexander (re-release)
Lowest review score: 0 The Price of Air
Score distribution:
552 movie reviews
    • 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.
    • 79 Metascore
    • 80 Dave Kehr
    Saving the big number for the climax, like any good musical director, Mr. Yuen finishes up with a spectacular variation on the traditional kung fu pole fight.
    • 84 Metascore
    • 80 Dave Kehr
    Lagaan may look naïve; it is anything but. This is a movie that knows its business — pleasing a broad, popular audience -- and goes about it with savvy professionalism and genuine flair.
    • 53 Metascore
    • 80 Dave Kehr
    What's oddly appealing about this film is the sweetness that the director, François Velle, manages to extract from Craig Sherman's rather bitter screenplay.
    • 69 Metascore
    • 80 Dave Kehr
    Here is a rich tale of our times, very well told with an appropriate minimum of means.
    • 63 Metascore
    • 80 Dave Kehr
    For those in search of something different, Wendigo is a genuinely bone-chilling tale.
    • 58 Metascore
    • 80 Dave Kehr
    This tiny film is heartfelt, well made and worthy of attention.
    • 69 Metascore
    • 80 Dave Kehr
    Very well edited by Laura C. Murray and set to an effective score by the percussionist Evelyn Glennie, People Say I'm Crazy is a small film but an extremely affecting one.
    • 55 Metascore
    • 80 Dave Kehr
    Never backing off from big, emotional moments, but also fleshing out the necessary transitions between them, he has realized his finest movie. It's a renaissance for Mr. Schultz, who seems to be speaking with his own voice after all these years.
    • 74 Metascore
    • 80 Dave Kehr
    Obscure by nature and unwieldy by design, Darger's work is difficult to confront and consume; Ms. Yu has brought it a little closer, and that is as fine a public service as an art documentary can provide.
    • 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.
    • 80 Metascore
    • 80 Dave Kehr
    Muddled on the issues, but it earned its Oscar as a dramatic, involving story, full of tough and appealing characters. (Review of Original Release)
    • 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.
    • 75 Metascore
    • 80 Dave Kehr
    An awesomely, stiflingly professional piece of work, with a fleet, superficial visual style, perfectly placed climaxes, and a screenplay (by Douglas Day Stewart) that doesn't waste a single character or situation - everything is functional, and nothing but functional.
    • 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.
    • 78 Metascore
    • 80 Dave Kehr
    Lawrence Kasdan's 1981 noir fable is highly derivative in its overall conception, but it finds some freshness in its details. All in all, this evokes the spirit of James M. Cain more effectively than the 1981 remake of The Postman Always Rings Twice did.
    • 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.
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 52 Metascore
    • 75 Dave Kehr
    The looniest movie of the season and also one of the most engaging. [7 Nov 1988]
    • Chicago Tribune
    • 80 Metascore
    • 75 Dave Kehr
    Contains some gaspingly funny moments. [29 July 1988, Friday, p.A]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune