For 562 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 6.1 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Balthazar (re-release)
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
562 movie reviews
    • 52 Metascore
    • 40 Dave Kehr
    Well-meaning and hopelessly bland, You'll Get Over It, instantly drops into the tone of didactic realism that rules most television fiction, drawing easy moral lessons from a scrubbed-up simulacrum of everyday, middle-class life.
    • 41 Metascore
    • 40 Dave Kehr
    Following Bollywood's tradition of excessive generosity, Mr. Gupta tosses in too much of just about everything, resulting in a two-and-a-half-hour film that may exhaust some viewers.
    • 46 Metascore
    • 40 Dave Kehr
    Tossed by successive waves of floridity and biliousness, Food of Love finally washes up on the shores of camp.
    • 60 Metascore
    • 40 Dave Kehr
    The camera work is so self-conscious and so intrusive that it consistently overrides our interest in the characters and their individual dramas.
    • 53 Metascore
    • 40 Dave Kehr
    Loaded down with rhetorical devices -- writer and director, Marco Amenta, drowns it in a flood of sentimental effusions.
    • 55 Metascore
    • 40 Dave Kehr
    An overdose of morbid sentimentality.
    • 47 Metascore
    • 40 Dave Kehr
    (Miike's) work is fun to look at but emotionally unengaging, perhaps because he can't summon enough belief in his pulp-fiction characters to make them come alive.
    • 45 Metascore
    • 40 Dave Kehr
    Mr. Chandrasekhar's direction is casual to the point of carelessness, but he does give the movie a friendly, convivial atmosphere that contradicts and sometimes overcomes its frequently cruel humor. In short, this is another film that looks as if it was more fun to make than it is to sit through.
    • 36 Metascore
    • 40 Dave Kehr
    A sweet, sincere labor of love that just isn't very good.
    • 32 Metascore
    • 40 Dave Kehr
    In the end, Lisa's revolt seems as predictably programmatic, and as widely abstracted from observable human behavior, as the movie that contains her.
    • 47 Metascore
    • 40 Dave Kehr
    With its implausible coincidences, inelegant plot twists and minimally characterized characters, The Trip doesn't have much going for it apart from its basic sincerity and decency, which are evident.
    • 21 Metascore
    • 40 Dave Kehr
    As a movie, Controlled Chaos is often bumpy, naïve and erratically acted.
    • 52 Metascore
    • 40 Dave Kehr
    The film feels authentic only during the scenes between Valentín and his selfish, angry father.
    • 39 Metascore
    • 40 Dave Kehr
    In both Twist and "Idaho," the act of placing a larger-than-life literary figure in a constrained, narrowly naturalistic environment merely strips the characters of their scale and interest.
    • 35 Metascore
    • 40 Dave Kehr
    Mr. Davis has a lot of ideas, but when it comes to dramatizing them, he is unable to give them an engaging form.
    • 51 Metascore
    • 40 Dave Kehr
    American audiences will probably find it familiar and insufficiently cathartic.
    • 54 Metascore
    • 40 Dave Kehr
    Sidney Lumet's wired-up, hysterical direction overwhelms the minor pleasures of Ira Levin's play.
    • 39 Metascore
    • 40 Dave Kehr
    Plympton fails to develop compelling personalities for any of his characters.
    • 51 Metascore
    • 40 Dave Kehr
    Mr. Szklarski doesn't seem to have a strong point of view on his material. Too often, the film drifts into a kind of passive voyeurism, offering the unhappy spectacle of these wasted lives without perspective and without hope.
    • 79 Metascore
    • 40 Dave Kehr
    The dual-track plot, with constant cutting between mother and daughter, seems less an attempt to establish meaningful parallels between the two stories than the nervous twitches of a compulsive channel changer.
    • 26 Metascore
    • 40 Dave Kehr
    What's lacking is the sense of structure that might have made Van Wilder more than a meandering succession of random gags.
    • 48 Metascore
    • 40 Dave Kehr
    Because there is a new hero to identify with every 10 minutes, the viewer isn't drawn into a sustained suspense, but is merely subjected to a series of more or less foreseeable shocks.
    • 41 Metascore
    • 40 Dave Kehr
    The plot line quickly becomes incomprehensible, and the movie, directed in sleek music-video style by Michael Bay, comes to suggest a very long night on Fox-TV. [7 April 1995, p.56]
    • New York Daily News
    • 65 Metascore
    • 40 Dave Kehr
    Peter Weir's attempt to make a "Casablanca" for the 80s - a romance set against a background of exoticism and intrigue - suffers from hazy plotting and a constant, pretentious mystification.
    • 41 Metascore
    • 40 Dave Kehr
    Unfortunately the clips themselves are so battered, grainy and sordid that they are more depressing than inspiring.
    • 49 Metascore
    • 40 Dave Kehr
    The results suggest a slightly more ribald version of "Josie and the Pussycats."
    • 37 Metascore
    • 40 Dave Kehr
    Will probably keep its core audience of suburban teenagers mildly entertained for the course of its 93 minutes. Urban grumps, however, may be distracted by Mr. Stokes's annoyingly overedited execution of the dance sequences.
    • 34 Metascore
    • 40 Dave Kehr
    Surprisingly dry and dispassionate.
    • 49 Metascore
    • 40 Dave Kehr
    Comes to seem less a movie than a memory of movies -- or, at worst, a commercial Frankenstein's monster, sewn together to fill a perceived gap in the market.
    • 52 Metascore
    • 40 Dave Kehr
    As it stands, "Spirit" provides neither the profound human touch of the great Disney animation of the past, nor the dazzling, high-tech fun of present-day digital cartooning.

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