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

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Brazil
Lowest review score: 0 The Price of Air
Score distribution:
553 movie reviews
    • 85 Metascore
    • 90 Dave Kehr
    To watch the biggest stars of their time in casual conversation, trading riffs and passing bottles, without benefit of publicists, handlers and security goons is to relive an innocent, anarchic time in the entertainment business when music, not marketing, was at the center of the enterprise.
    • 68 Metascore
    • 90 Dave Kehr
    Dense, contradictory and distressingly honest, Valley of Tears is that rarity among political documentaries: a genuinely thought-provoking film.
    • 75 Metascore
    • 90 Dave Kehr
    A strange and funny film, smart, complex and difficult to shake.
    • 84 Metascore
    • 90 Dave Kehr
    One of the most pleasant foreign films of the year, a funny, graceful and immensely good-natured work.
    • 77 Metascore
    • 90 Dave Kehr
    Experimental in form, it's also open and appealing in its vision of romantic redemption, an avant-garde romp that's also a great date movie. [8 Mar 1996, p.40]
    • New York Daily News
    • 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.
    • 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
    • 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
    • 58 Metascore
    • 88 Dave Kehr
    At her best—and even in a hand-me-down project like Point Break—Bigelow is a uniquely talented, uniquely powerful filmmaker. Where the male action directors are still playing with toys-with dolls and models and matte shots-Bigelow has tapped into something primal and strong. She is a sensualist of genius in this most sensual of mediums.
    • 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.
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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
    • 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.
    • 58 Metascore
    • 80 Dave Kehr
    This tiny film is heartfelt, well made and worthy of attention.
    • 84 Metascore
    • 80 Dave Kehr
    Lagaan may look naïve; it is anything but. This is a movie that knows its business — pleasing a broad, popular audience -- and goes about it with savvy professionalism and genuine flair.
    • 79 Metascore
    • 80 Dave Kehr
    Saving the big number for the climax, like any good musical director, Mr. Yuen finishes up with a spectacular variation on the traditional kung fu pole fight.
    • 53 Metascore
    • 80 Dave Kehr
    What's oddly appealing about this film is the sweetness that the director, François Velle, manages to extract from Craig Sherman's rather bitter screenplay.
    • 72 Metascore
    • 80 Dave Kehr
    A tiny film that reflects a large talent.
    • 87 Metascore
    • 80 Dave Kehr
    Director James Cameron dumps the decorative effects of Ridley Scott's 1979 Alien in favor of some daring narrative strategies and a tight thematic focus.
    • 73 Metascore
    • 80 Dave Kehr
    Consistently offbeat and entertaining; at such moments, it is also quite moving.
    • 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.

Top Trailers