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 Swing Kids
Score distribution:
  1. Positive: 68 out of 115
  2. Negative: 11 out of 115
115 movie reviews
    • 74 Metascore
    • 50 Dave Kehr
    Awakenings is a film that unquestionably succeeds on its own terms, though those terms are deeply suspect. It is a canny piece of false art, one that consistently swaps meaning for superficial effect. [20 Dec 1990, p.1]
    • 68 Metascore
    • 50 Dave Kehr
    A character comedy requires some notion of respect and integrity. Dirty Rotten Scoundrels has none. [14 Dec 1988, p.1]
    • 50 Metascore
    • 50 Dave Kehr
    Billy's burning, self-destructive energy is about all Young Guns has going for it-the suicidal kicks James Dean found in chickie races are here transposed to six-gun shoot-outs, filmed in a slow-motion process that strives vainly to evoke Sam Peckinpah. [12 Aug 1988, p.H]
    • 56 Metascore
    • 50 Dave Kehr
    The film gets by on the sheer good-naturedness Reitman is able to place in all of his efforts, though it doesn't seem likely to inspire the same level of affection as the original. Innocence is one quality that can never quite be recaptured. [16 Jun 1989, p.28]
    • 60 Metascore
    • 50 Dave Kehr
    The film is sober, serious-minded and paced like a funeral march. [11 Dec 1987]
    • 46 Metascore
    • 50 Dave Kehr
    As much as the film may try to peddle warmth and solidarity, it remains disturbingly cold and impersonal, limited by the formulaic writing of Bob Tzudiker and Noni White and stymied by Ortega's apparent distance from his cast. [10 Apr 1992]
    • 53 Metascore
    • 50 Dave Kehr
    There is a genuine sweetness in Reitman's work that balances the innate cruelty of much '80s film comedy. But this time the gags are too feeble to provide a counterweight and the film tips into the cute, benign and pointless. [9 Dec 1988, p.A]
    • 68 Metascore
    • 50 Dave Kehr
    A River Runs Through It emerges as hopelessly middle-brow-the kind of diluted, prettified art traditionally associated with PBS and the Academy Awards. [09 Oct 1992]
    • 63 Metascore
    • 50 Dave Kehr
    Schumacher's work in The Lost Boys consists of turning undertones into overtones--of taking the latent, the implied and the mysterious, and turning them into the loud and the obvious. He takes a story and turns it into a bunch of scenes, each of which contains its own payoff and none of which seems to draw on what has come before. And in these days of concept films, a story is a terrible thing to waste. [31 Jul 1987, p.D]
    • 57 Metascore
    • 50 Dave Kehr
    A movie that must spend most of its running time explaining its hopelessly complicated premises, which leaves very little room for anything much to happen. [22 Nov 1989, p.C1]
    • 46 Metascore
    • 50 Dave Kehr
    Steven Soderbergh's Kafka is a surprisingly cold, gray and flavorless follow-up to "sex, lies and videotape." [7 Feb. 1992]
    • 52 Metascore
    • 50 Dave Kehr
    Like the massive shipboard set that is its centerpiece, the film is huge and impressive - though, again like the captain's imposing vessel, it stubbornly and disappointingly remains at anchor. Hook never sets sail.
    • 35 Metascore
    • 50 Dave Kehr
    The film is actually fairly well made, with a brisk tempo pace, a professional look and enough competently staged action.
    • 27 Metascore
    • 50 Dave Kehr
    Dugan can`t find a tone that allows him to preserve the shock of the gags while minimalizing their physical painfulness.
    • 51 Metascore
    • 25 Dave Kehr
    It sounds like standard Cinderella stuff (and the script comes complete with plenty of allusions to princesses in towers), but it's played here with an emphasis on possessions and possessing that borders on the obscene… It's a pretty ugly movie. [23 Mar 1990, Friday, p.C]
    • 34 Metascore
    • 25 Dave Kehr
    Verhoeven does not explore the dark side, but merely exploits it, and that makes all the difference in the world. [20 Mar 1992, Friday, p.C]
    • 27 Metascore
    • 25 Dave Kehr
    It has a lack of ambition and energy that is almost total: It's the most this movie can do to roll over and ask for a little more lotion on its back. [22 July 1987]
    • 33 Metascore
    • 25 Dave Kehr
    The confusing screenplay, by John Eskow and Richard Rush, makes a few fumbling attempts to get a plot going (Downey crash-lands and has to be rescued by Gibson; later, their CIA bosses try to frame them for drug smuggling), but mainly the movie tries to get by on attitude, which is a mistake when Mel Gibson is its main perpetrator. [10 Aug 1990]
    • 16 Metascore
    • 25 Dave Kehr
    In Harlem Nights, Eddie Murphy continues his one-man war against the female gender. Those women he doesn't kill outright are punched, maimed and slugged with garbage cans. But apparently they deserve it-there isn't a single female character in the film who isn't a prostitute. [17 Nov 1989, p.A]
    • 39 Metascore
    • 25 Dave Kehr
    None of the characters has been written with any personality, and none of the actors succeeds in discovering any. [05 Mar 1993]
    • 46 Metascore
    • 25 Dave Kehr
    Brooks' own timing as a director doesn't seem up to its usual snuff. Light-years stretch out between the set-up of a gag and its payoff, and for a director who has always depended on the quantity of his jokes rather than the quality, the gap is fatal. When a character is introduced as "Pizza the Hut," and then shown as a melting mass of mozzarella and tomato sauce, the result is to turn a fairly clever pun into something thuddingly obvious and vaguely nauseating. [24 Jun 1987, p.3]
    • 28 Metascore
    • 25 Dave Kehr
    A fatally compromised, half-realized execution. [ 10 Jul 1992]
    • 24 Metascore
    • 25 Dave Kehr
    The first starring vehicle for shock comic Andrew Dice Clay, The Adventures of Ford Fairlane, turns out to be the kind of detective spoof worn out 30 years ago by Bob Hope and Jerry Lewis, though refitted with salty language, graphic violence and an attitude toward women that makes the Marquis de Sade look like Phil Donahue. [11 Jul 1990, p.18]
    • 22 Metascore
    • 25 Dave Kehr
    Superman IV is a pathetic appendage to the series, a dull, shoddy film that makes the minimal 1950s TV series seem rife with production values by comparison. [27 July 1987, p.10C]
    • 65 Metascore
    • 25 Dave Kehr
    Vincent & Theo is a by-the-numbers art biography that barely succeeds in recapping the best-known events in the life of its subject, Vincent van Gogh. There is something almost chilling in the degree of the director's evident disengagement from his material and the complete lack of craft with which he has filmed it.