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 Vulgar
Score distribution:
552 movie reviews
    • 85 Metascore
    • 90 Dave Kehr
    Carpenter displays an almost perfect understanding of the mechanics of classical suspense; his style draws equally (and intelligently) from both Howard Hawks and Alfred Hitchcock.
    • 92 Metascore
    • 90 Dave Kehr
    An excellent film, still as fresh as the day it was made.
    • 81 Metascore
    • 90 Dave Kehr
    It's by far the least controlled of Penn's films, but the pieces work wonderfully well, propelled by what was then a very original acting style.
    • 86 Metascore
    • 90 Dave Kehr
    Levinson's dialogue feels fresh and improvised, yet it hits its mark every time, and the performances he gets are complex and original (particularly from Mickey Rourke, who plays a lothario with a late-blooming conscience) - enough so that Levinson's occasional forced "cinematic" effects cause barely a ripple in the smooth, naturalistic surface.
    • 75 Metascore
    • 90 Dave Kehr
    Taking off from the format of a typical teenage sex comedy, Brickman deepens the characters and tightens the situations, filming them in a dark, dreamlike style full of sinuous camera movements and surrealistic insinuations. Brickman found a tone I hadn't encountered previously - one of haunting, lyrical satire.
    • 79 Metascore
    • 90 Dave Kehr
    The film represents a studied, sophisticated approach to instinctual emotions: it's carefully, calculatingly naive, and amazingly it works.
    • 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
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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
    • 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]
    • 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
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 84 Metascore
    • 88 Dave Kehr
    Broadcast News is the crispest, classiest entertainment; it has what Hollywood has been missing. [16 Dec 1987, p.8]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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.
    • 54 Metascore
    • 88 Dave Kehr
    Directed with great skill and intelligence by Joseph Ruben, Return to Paradise, is a rare thing among today's movies a drama of conscience. [14 Aug1 998, Pg.51]
    • New York Daily News
    • 73 Metascore
    • 80 Dave Kehr
    Consistently offbeat and entertaining; at such moments, it is also quite moving.
    • 58 Metascore
    • 80 Dave Kehr
    It is enough of an act of optimism just to raise the specter of heroic nobility, something that Virgil Bliss accomplishes with subtlety and poignancy.
    • 63 Metascore
    • 80 Dave Kehr
    The film is full of ingenious details and effective character sketches (Thomas has a mother who would give Woody Allen the willies) that go a long way toward covering up its conventionalities.
    • 72 Metascore
    • 80 Dave Kehr
    Like his father, Mr. Brown has the magical ability to take his public on a two-hour vacation. It's the next best thing to being there, and you don't need to worry about sand in your beer.
    • 72 Metascore
    • 80 Dave Kehr
    A tiny film that reflects a large talent.
    • 66 Metascore
    • 80 Dave Kehr
    An effective, well-made film that will certainly please its target audience of preteen girls.
    • 73 Metascore
    • 80 Dave Kehr
    It remains a documentary at heart, full of astonishing glimpses of human resiliency that have nothing to do with artfulness and everything to do with patience, persistence and sympathy.
    • 80 Metascore
    • 80 Dave Kehr
    Rather than a feminist martyr, her film presents an artist with a rich body of work, one who still fascinates and continues to cast a wide influence.
    • 66 Metascore
    • 80 Dave Kehr
    A photographer for magazines like Vanity Fair and GQ, as well as a veteran director of commercials, Mr. Jones brings a trained eye to this, his first documentary. The low gray skies of Chicago prove once again to be a boon to photography, and the city has seldom looked better than it does here, in its chilly, minimalist beauty.

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