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

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Good, the Bad and the Ugly (re-release)
Lowest review score: 0 Vulgar
Score distribution:
553 movie reviews
    • 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]
    • Chicago Tribune
    • 67 Metascore
    • 75 Dave Kehr
    A smart, spectacular and rousing piece of work, one that strains against but can't quite escape the natural limitations imposed by a sequel. [4 July 1990, p.C1]
    • Chicago Tribune
    • 83 Metascore
    • 75 Dave Kehr
    There is a great deal of value in Branagh's version, not least in his own lead performance as a soft, indefinite Henry who defines himself over the course of the play. [15 Dec 1989]
    • 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
    • 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]
    • Chicago Tribune
    • 48 Metascore
    • 75 Dave Kehr
    A satire is only as good as its subject, and in the very funny I'm Gonna Git You Sucka, Keenen Ivory Wayans has found a rich and relatively untapped one. The wit and openness of I'm Gonna Git You Sucka has more to contribute to race relations than the smug piety of "Mississippi Burning." As a positive image, a good, shared laugh is hard to beat. [14 Dec 1988, p.1]
    • 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
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 63 Metascore
    • 75 Dave Kehr
    Honey, I Shrunk the Kids is the happiest surprise of this summer so far, a children's film from Walt Disney Productions that effortlessly renews the best tradition of that studio's live-action features.
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 62 Metascore
    • 75 Dave Kehr
    Professionalism is both Nothing in Common's greatest strength and its greatest limitation. It's a very finely crafted piece, a product of hard work and careful consideration, yet nothing breaks through the craft--there's no personal drive to it.
    • 80 Metascore
    • 75 Dave Kehr
    Contains some gaspingly funny moments. [29 July 1988, Friday, p.A]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 56 Metascore
    • 75 Dave Kehr
    The world of Wall Street is that of a lush soap opera-"Dynasty" with a moral. It gets the barn burning, all right, but it has no impact. [11 Dec 1987, p.A]
    • Chicago Tribune
    • 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]
    • 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
    • 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
    • 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
    • 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
    • 75 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]
    • Chicago Tribune
    • 72 Metascore
    • 75 Dave Kehr
    Big
    Big moves with polish and assurance. It's too soon to tell whether Marshall has anything of her own to say, but Big is proof that she can handle the Hollywood machine, and that is no small thing.
    • 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]
    • 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

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