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

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Leopard (re-release)
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
553 movie reviews
    • 60 Metascore
    • 60 Dave Kehr
    Mr. Sawyer eventually overreaches, striving for tragedy with a grim, cautionary ending that seems meant to evoke "Frankenstein." But the film's offhand, homemade quality sustains a quirky appeal.
    • 48 Metascore
    • 60 Dave Kehr
    Though the film is far from polished, the force of its significance to Mr. Frey, as well as the urgency of its political message, give it some genuine impact.
    • 51 Metascore
    • 60 Dave Kehr
    Joins the small pool of films that have dared to use Imax to tell a story.
    • 46 Metascore
    • 60 Dave Kehr
    Bright, good-spirited and blissfully short.
    • 62 Metascore
    • 60 Dave Kehr
    The filmmakers build an argument that is both intellectual and emotional, concentrating as much on the forensic evidence as on Ms. Rosario's passionate commitment to finding justice for her son.
    • 62 Metascore
    • 60 Dave Kehr
    A strange, disturbing and yet occasionally quite funny cultural artifact from the new Russia.
    • 40 Metascore
    • 60 Dave Kehr
    A competent, unpretentious entertainment destined to fill the after-school slot at shopping mall theaters across the country.
    • 50 Metascore
    • 60 Dave Kehr
    The material continues to carry its inherent emotional power and moral importance. As banal as the telling may be -- and at times, All My Loved Ones more than flirts with kitsch -- the tale commands attention.
    • 54 Metascore
    • 60 Dave Kehr
    Entertaining, lightly mocking documentary.
    • 51 Metascore
    • 60 Dave Kehr
    Ms. Gardos is not a particularly flavorful filmmaker, but she is an honest one.
    • 64 Metascore
    • 60 Dave Kehr
    Far more ambivalent and ambiguous film than Mr. Spielberg's. Both North and South are portrayed as brutal, abusive regimes that use their citizens as so much cannon fodder.
    • 38 Metascore
    • 60 Dave Kehr
    The first two are total stinkers, but things pick up with Joe Dante's creepy, claustrophobic, and very funny study of a brattish kid who lives in a cartoon universe, and come slamming home with George Miller's final sketch about a paranoid airline passenger.
    • 64 Metascore
    • 60 Dave Kehr
    AKA
    His (Roy's) informed contempt is highly entertaining, but he neglects some of the more problematical and perhaps more illuminating aspects of his story.
    • 44 Metascore
    • 60 Dave Kehr
    Good-natured, mildly appealing video feature.
    • 52 Metascore
    • 60 Dave Kehr
    The film doesn't transcend its genre, but it's an honorable achievement within it.
    • 63 Metascore
    • 60 Dave Kehr
    The film's mechanical workings are still impressive, but between the unsympathetic characters and the coldly precise direction, there is little here for an audience to clutch to its heart.
    • 47 Metascore
    • 60 Dave Kehr
    Emerges as an uncommonly sober, well-researched film of its type.
    • 64 Metascore
    • 60 Dave Kehr
    This 1985 western does a decent job of developing some dry 80s humor without completely undermining the genre, yet Kasdan's considerable skills as a plot carpenter seem to desert him as soon as the story moves to the town of the title--the action turns choppy, confused, and arbitrary.
    • 62 Metascore
    • 60 Dave Kehr
    An amiable, offhanded comedy about ethnic identity and last-chance romance.
    • 63 Metascore
    • 60 Dave Kehr
    The dual point of view is used effectively, though it's less valid as social criticism (where Penn's observations tend toward facile revisionism) than as an index of the uncertainty that characterizes most of Penn's heroes.
    • tbd Metascore
    • 60 Dave Kehr
    This is a bumpy ride, but one worth taking.
    • 38 Metascore
    • 60 Dave Kehr
    As soon as the medallion appears, so do the digital maneuverings -- speeded-up movement, composite images, objects and people morphing into supernatural thingamajigs -- that undercut the genuine thrills of the genuine action.
    • 58 Metascore
    • 60 Dave Kehr
    Those seeking a serious sociological examination of the role of stock car racing in late capitalist America will probably want to search elsewhere, but audiences looking for a kick will find one -- almost literally -- in Mr. Wincer's work.
    • 47 Metascore
    • 60 Dave Kehr
    The essential humanity of the characters shines through, giving face and form to a subculture the movies have largely neglected.
    • tbd Metascore
    • 60 Dave Kehr
    Unfortunately, its inescapable comparison is to David Gordon Green's "George Washington," made the same year as Mr. Davidson's film but with a far greater sense of style and a more profound grasp of the fragility of young lives. Way Past Cool can't stand up to that kind of competition.
    • 86 Metascore
    • 60 Dave Kehr
    The film has no qualities beyond its formal polish--and its careful avoidance (or rather, displacement) of the moral and political issues involved can seem too crafty, too convenient.
    • 60 Metascore
    • 60 Dave Kehr
    Mr. Burger has a performer who can dart between stentorian self-assurance and cringing pathos, maintaining his character's ambiguity until the final sequence of this resourceful and ingenious entertainment.
    • 62 Metascore
    • 60 Dave Kehr
    Depending on your choice, the film is either an unpleasantly masochistic fantasy or an unpleasantly sadistic one.
    • 42 Metascore
    • 60 Dave Kehr
    It's bleak, creepy, and occasionally terrifying. Studio pressure apparently forced Murch to back off from the full fury of his conception, but this is still strong stuff.
    • 51 Metascore
    • 60 Dave Kehr
    Emerges as an engaging if occasionally hokey inspirational melodrama about the importance of community in the face of life's disappointments.
    • 61 Metascore
    • 60 Dave Kehr
    Most impressive, and the only segment that dares to criticize the terrorists directly, is Mr. Imamura's contribution, the last part of the film.
    • 62 Metascore
    • 60 Dave Kehr
    Handsome, well-executed film that nonetheless feels a bit long at 111 minutes. Those who are already anime fans will certainly find it stimulating; but this may not be the one to convert the uninitiated.
    • 53 Metascore
    • 60 Dave Kehr
    Veers between the light naturalism of American television and the pulsing melodrama of Bollywood entertainment.
    • 54 Metascore
    • 60 Dave Kehr
    Its luxuriant, nearly three-hour running time allows lots of room for spectacular musical numbers and dramatic climaxes that are extended to the breaking point and beyond.
    • 59 Metascore
    • 60 Dave Kehr
    Typical Nilsson mix of the audacious and the cringe-inducing.
    • 57 Metascore
    • 60 Dave Kehr
    An enjoyable, noisy romp.
    • 54 Metascore
    • 60 Dave Kehr
    Here is one performer (Testud) whose features -- small sad eyes, sharp nose, wide rueful smile -- can sustain a feature by themselves.
    • 55 Metascore
    • 60 Dave Kehr
    Has the bad luck to come on the heels of Kathryn Bigelow's beautifully made and politically impassioned "K-19," making this submarine picture -- a relatively modest, low-budget affair -- seem skimpy by comparison.
    • 82 Metascore
    • 60 Dave Kehr
    The script is funny and observant, full of shocks of recognition, but for all his progress as a writer, Allen's direction remains disconcertingly amateurish. Still, it remains perhaps the only film in which Allen has been able to successfully imagine a personality other than his own.
    • 46 Metascore
    • 60 Dave Kehr
    Richard Attenborough's direction achieves that balance of impersonality and brisk pacing we've come to recognize as "professionalism," and he doesn't clog up the dancing with too many stylistic gimmicks.
    • 53 Metascore
    • 60 Dave Kehr
    As broad and cartoonish as the screenplay is, there is an accuracy of observation in the work of the director, Frank Novak, that keeps the film grounded in an undeniable social realism.
    • 76 Metascore
    • 60 Dave Kehr
    Wyler lays out all the elements with care and precision, but the romantic comedy never comes together - it's charm by computer. [Review of re-release]
    • 46 Metascore
    • 60 Dave Kehr
    It is a sincere, thoughtful work, though not a very accomplished one.
    • 76 Metascore
    • 60 Dave Kehr
    This story of a party girl (Audrey Hepburn) in love with a gigolo (George Peppard) allows Edwards to create a very handsome film, with impeccable Technicolor photography by Franz Planer. [Review of re-release]
    • 56 Metascore
    • 60 Dave Kehr
    Clearly understands its target audience of first-generation Indian-Americans and has its pleasures to provide.
    • 52 Metascore
    • 60 Dave Kehr
    A generally effective sex comedy, distinguished by its origins (Brazil) and the considerable appeal of its star, Sonia Braga. (Review of original release)
    • 61 Metascore
    • 60 Dave Kehr
    Informal, pleasant film that ably captures Mr. Traoré's spirit.
    • 87 Metascore
    • 60 Dave Kehr
    There are several solid laughs and some excellent supporting performances. But this is a film to be wary of.
    • 46 Metascore
    • 60 Dave Kehr
    She (Baur) has clearly earned the trust and respect of her subjects, the first qualification for any responsible documentarist, and they have repaid her with an intimate glimpse into their singular lives.
    • 82 Metascore
    • 60 Dave Kehr
    This is compelling stuff, but there is something deeply distracting in the use of recreated material.
    • 44 Metascore
    • 60 Dave Kehr
    Walking Tall has no more fat on it than the Rock himself, a hulking yet curiously ingratiating presence who seems the most likely candidate to replace Gov. Arnold Schwarzenegger as America's favorite living comic book character.
    • 71 Metascore
    • 60 Dave Kehr
    By and large Mr. Hoch's portrayals are as harsh and authentic as a police photograph, but an occasional touch of sentimentality creeps in.
    • 59 Metascore
    • 60 Dave Kehr
    Not quite good enough to jump out of the pack of Asian swordplay movies but is too well crafted to sink into utter anonymity.
    • 53 Metascore
    • 60 Dave Kehr
    Has the sense of gritty, practical politics of a Japanese samurai epic combined with the high-flying stunt work and magical special effects of a Hong Kong romp. Ultimately this film by Yojiro Takita is satisfying on neither level, but not for lack of trying.
    • 60 Metascore
    • 60 Dave Kehr
    One of the most technically proficient of David Cronenberg's early gnawing, Canadian-made horror movies, though it lacks both the logic and the queasy sexual subtext that made his still earlier work - "Rabid," "They Came From Within" - so memorably revolting.
    • 62 Metascore
    • 60 Dave Kehr
    The resulting compromise does not produce a perfect film, but it is a fine record of a classic production and an important reminder of an event that has not stopped echoing in American culture.
    • 41 Metascore
    • 60 Dave Kehr
    Minnelli's comedy had its serious underpinnings: by the end of the film, a girl had become a woman. By the end of Ms. Gordon's film, the girl is still a girl, but a girl with much cooler stuff, including a stately home, a butler and a cute British boyfriend.
    • 53 Metascore
    • 60 Dave Kehr
    The film is at once a sort of Indian "Stella Dallas," which finds the heroine making sacrifice after sacrifice on behalf of her family, and a "Gone With the Wind"-style epic of social change.
    • 58 Metascore
    • 60 Dave Kehr
    Sustains the charm of an early 60's New York romance.
    • 57 Metascore
    • 50 Dave Kehr
    For an outside observer, Saints and Sinners doesn't make particularly compelling viewing, but Ms. Honor has given her subjects an excellent present on their big day: the ultimate wedding video.
    • 52 Metascore
    • 50 Dave Kehr
    A wan, wistful Generation Y romance.
    • 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]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 58 Metascore
    • 50 Dave Kehr
    The film, too artfully conceived to deliver many overt shocks, often feels long and aimless.
    • 45 Metascore
    • 50 Dave Kehr
    Alien Nation is a sluggish, forced and hopelessly derivative action thriller, sporadically redeemed by the wit of its stars and the velvety sheen of Greenberg's night photography.
    • 28 Metascore
    • 50 Dave Kehr
    Fans of the genre -- or "gore hounds" as they are known in fandom -- will find plenty to enjoy in Mr. West's enthusiastic approach to his work.
    • tbd Metascore
    • 50 Dave Kehr
    Doesn't have many fresh ideas to contribute to the genre, though it is reasonably good-natured and delivers a handful of solid laughs.
    • 59 Metascore
    • 50 Dave Kehr
    The movie is as flat and plain as a television program, and most of the supporting characters (including Louise Fletcher as a kindly schoolmarm) seem equally two-dimensional, as if they had wandered in from the set of "The Andy Griffith Show."
    • 45 Metascore
    • 50 Dave Kehr
    It has a few good laughs in it thanks to Murphy, but mainly depends for its appeal on an uncomfortable manipulation of racial stereotypes. [04 Dec 1992]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 31 Metascore
    • 50 Dave Kehr
    As much as film buffs might enjoy recognizing references to "Motel Hell" and other drive-in classics, Mr. Zombie's encyclopedic approach to the genre results in a crowded, frenzied film in which no single idea is developed to a satisfying payoff.
    • 81 Metascore
    • 50 Dave Kehr
    This sort of thing was considered high art not so long ago; now it seems forced and ponderously symbolic.
    • 33 Metascore
    • 50 Dave Kehr
    Modest, mildly engaging film.
    • 53 Metascore
    • 50 Dave Kehr
    Shyer's direction of actors rises instantly to a level of cartoonish hysteria and descends only for occasional wet bursts of sentimentality. But as an exercise in ideological persuasion it works appallingly well, playing on deep-seated guilts and insecurities with a sureness of touch that may make it a hit with the audience it caricatures.
    • 54 Metascore
    • 50 Dave Kehr
    Pretty much of a mess, full of narrative gaps and characters who arbitrarily appear and disappear. But it is at least a sweet, good-natured mess, with none of the overcalculation and condescending cynicism the same material would almost certainly bring out in a Hollywood production.
    • 22 Metascore
    • 50 Dave Kehr
    Instead of deepening the material, however, the narrative twists feel like purely formal interventions, intended to keep the film moving toward its foregone, heavily moralistic conclusion. Mr. Smith Gets a Hustler is faultlessly professional but finally slight.
    • 47 Metascore
    • 50 Dave Kehr
    A pleasant, good-natured picture that struggles, gallantly if vainly, to recapture the style and sensibility of a studio musical on the severely limited budget of an independent film.
    • 60 Metascore
    • 50 Dave Kehr
    An air of embarrassing familiarity hangs over the entire project, as if it were a story told by an aging relative not quite aware of how many times, and how much better, he has been over the same material before. [25 Dec 1990, Tempo, p.1]
    • Chicago Tribune
    • 46 Metascore
    • 50 Dave Kehr
    There is a reason formulas endure: they work. And even under these threadbare circumstances, the developing friendship between the two women carries a faint but effective dramatic charge.
    • 51 Metascore
    • 50 Dave Kehr
    The landscape photography is magnificent...But its stereotypical characters, melodramatic plotting and audience-pleasing close-ups of adorable children all suggest the profound limitations of filmmaking by committee, whether that committee meets in Beijing or Burbank.
    • 57 Metascore
    • 50 Dave Kehr
    Finally fails to escape the conventions of the Hollywood cinema it so proudly deplores.
    • 31 Metascore
    • 50 Dave Kehr
    Lopes along amiably enough, offering a few smiles and the standard bromides about the importance of being yourself and pursuing your dreams. It's tolerable but forgettable.
    • 36 Metascore
    • 50 Dave Kehr
    This movie is Ms. Davis's fourth film as a director, and she has a bright, chipper style that keeps things moving, while never quite managing to connect her wish-fulfilling characters to the human race. Like someone who smiles too much, Amy's Orgasm seems rather sad at heart.
    • 38 Metascore
    • 50 Dave Kehr
    Once upon a time this was known as "the power of positive thinking," and it didn't involve nearly so much math.
    • 38 Metascore
    • 50 Dave Kehr
    Over all, the humor has been sanitized a bit compared with the darker, more grotesque comedy of the French original.
    • 58 Metascore
    • 50 Dave Kehr
    The animation is competent, and some of the gags are quite funny, but Jonah never shakes the oppressive, morally superior good-for-you quality that almost automatically accompanies didactic entertainment.
    • 48 Metascore
    • 50 Dave Kehr
    Effective filmmaking, and at the moment, when a significant portion of this campaign is being fought in movie theaters, it's also effective politicking.
    • 62 Metascore
    • 50 Dave Kehr
    These blatantly comic characters undercut the credibility established by Mr. Herzog's naturalistic performance, and sink the horror premise as quickly as it surfaces.
    • 36 Metascore
    • 50 Dave Kehr
    For all of his personal familiarity with the material, Mr. Provenzano has turned out a movie that largely owes its tone and style to other movies.
    • 43 Metascore
    • 50 Dave Kehr
    Emerges as just one more formulaic action film as the title character bounces around the globe in a deadly treasure hunt.
    • 67 Metascore
    • 50 Dave Kehr
    Paul Verhoeven's RoboCop is a stylish piece of work that leaves a sour aftertaste. [17 Jul 1987]
    • Chicago Tribune
    • 60 Metascore
    • 50 Dave Kehr
    The film is sober, serious-minded and paced like a funeral march. [11 Dec 1987]
    • Chicago Tribune
    • 50 Metascore
    • 50 Dave Kehr
    The film is finally impersonal, almost anonymous; it's a chilly, lumbering project that carries little of the mark of lived experience. [25 Dec 1992]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 58 Metascore
    • 50 Dave Kehr
    An idealized, dreamy fantasy of life in the business world-harmless as airplane reading, a bit dull on the big screen. [2 Mar 1990, Friday, p.C]
    • Chicago Tribune
    • 75 Metascore
    • 50 Dave Kehr
    for all its flaws, Born on the Fourth of July provides the final proof that Tom Cruise is the real thing-a movie star with all the natural, unforced ability to connect with an audience that the title implies. [20 Dec 1989, p.1]
    • Chicago Tribune
    • 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]
    • Chicago Tribune
    • 80 Metascore
    • 50 Dave Kehr
    A few moments of sly inspiration are not enough to carry an entire feature; along with the tears, it leaves behind an aftertaste of phoniness. [16 March 1990, Friday, p.H]
    • Chicago Tribune
    • 64 Metascore
    • 50 Dave Kehr
    The material is disparate and wide ranging, and it is often difficult to follow Mr. Friedman and Mr. Nadler down all the side streets and back alleys of their investigation.
    • 66 Metascore
    • 50 Dave Kehr
    Emerges as cutty, indistinct and confused, full of shots that don't match and spatial conceptions that would look flat even on TV. The more Branagh strains to appear “cinematic,'' the more he looks like a man of the theater. [23 Aug 1991, Friday, p.B]
    • Chicago Tribune

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