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

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Something Wild
Lowest review score: 0 The Price of Air
Score distribution:
553 movie reviews
    • 66 Metascore
    • 80 Dave Kehr
    An effective, well-made film that will certainly please its target audience of preteen girls.
    • 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.
    • 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.
    • 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.
    • 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)
    • 63 Metascore
    • 80 Dave Kehr
    For those in search of something different, Wendigo is a genuinely bone-chilling tale.
    • 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.
    • 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.
    • 69 Metascore
    • 80 Dave Kehr
    Here is a rich tale of our times, very well told with an appropriate minimum of means.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 70 Metascore
    • 75 Dave Kehr
    Has everything but a personality. [15 July 1988, Friday, p.A]
    • Chicago Tribune
    • 71 Metascore
    • 75 Dave Kehr
    It's a movie of a thousand pleasures - of glinting insights and sly twists. [19 Aug 1988]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 71 Metascore
    • 75 Dave Kehr
    Much of the film`s charm resides in the fact that there is no reason for any of this to happen, except for the director`s sheer will that it be so.
    • 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]
    • Chicago Tribune

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