For 642 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 5.9 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Superman II
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
642 movie reviews
    • 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.
    • 63 Metascore
    • 50 Dave Kehr
    Glen's willingness to give the action sequences a certain weight and seriousness produces some genuinely exciting moments, yet his work is everywhere undermined by the flatness of the characterizations and the uncertain architecture of the plot. Still, Maud Adams makes a nice impression and Roger Moore has shed some of his smarminess.
    • 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.

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