For 566 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 6.3 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Fly
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
566 movie reviews
    • 70 Metascore
    • 75 Dave Kehr
    For all the film's popped eyeballs and severed limbs, Beetlejuice retains an innocence that makes the grotesque humor very appealing. Burton has captured the sweet ghoulishness of a 12-year-old pouring over horror comics, dreaming of the greatest Halloween costume ever invented. [30 Mar 1988]
    • Chicago Tribune
    • 62 Metascore
    • 75 Dave Kehr
    The Abyss is at its best during such moments of reverie-when the abstract metaphors and the unique physicality of the deep sea setting come together to produce powerful, unvoiced meanings. The film does have its beckoning depths; what it needs is a more polished surface. [9 Aug 1989, Tempo, p.1]
    • Chicago Tribune
    • 65 Metascore
    • 75 Dave Kehr
    While liberally dosing the action with humor, Underwood is able to preserve an undertone of genuine menace and substantial suspense. His shooting style is clean and classical, distinguished by camera movements that emphasize the line of the action without becoming conspicuous in themselves.
    • 66 Metascore
    • 75 Dave Kehr
    The Coens have technique and they have taste; what they do not yet have is the ability to move beyond their handsome imagery to the human center of their material. [5 Oct 1990, Friday, p.C]
    • Chicago Tribune
    • 51 Metascore
    • 75 Dave Kehr
    As long as Hughes is content to provide a simple, flexible format for Candy, Uncle Buck is very entertaining. Hughes seems to have relaxed his usual controlling, compulsively tidy style, taking full advantage of the improvisational talents of his star.
    • 52 Metascore
    • 75 Dave Kehr
    The looniest movie of the season and also one of the most engaging. [7 Nov 1988]
    • Chicago Tribune
    • 56 Metascore
    • 75 Dave Kehr
    Pretty silly. The Hot Spot certainly is, and it's occasionally quite entertaining for it, though the picture never really achieves a dimension beyond that of a Playboy Party Joke. [26 Oct 1990, Friday, p.I]
    • Chicago Tribune
    • 50 Metascore
    • 75 Dave Kehr
    Prince of Darkness is a real tour de force, and a welcome return.
    • 53 Metascore
    • 75 Dave Kehr
    The film's frequent longeurs, compulsive over-explicitness and unshakably morose hero seem like so many insistently ''literary'' qualities, ostentatiously laid over a cute, cartoonish vision that suggests not so much Anne Tyler as the affectionate quirkiness of ''The Mary Tyler Moore Show.'' [6 Jan 1989, Friday, p.A]
    • Chicago Tribune
    • 73 Metascore
    • 75 Dave Kehr
    The sheer outrageousness of its attitude is enough to make Heathers a very welcome relief in a field dominated by sanctimonious and second-hand virtue. [31 March 1989]
    • Chicago Tribune
    • 52 Metascore
    • 75 Dave Kehr
    There are still some astonishingly tender moments, including looks exchanged between Swayze and Moore that seem magically divorced from this summer of exploding jets, severed limbs and homicidal children. [13 July 1990, Friday, p.D]
    • Chicago Tribune
    • 62 Metascore
    • 75 Dave Kehr
    As a screenplay Tequila Sunrise is a very impressive piece of work. But as a movie, it's knotty and confused. [2 Dec 1988, p.B]
    • Chicago Tribune
    • 76 Metascore
    • 75 Dave Kehr
    A hesitant, conservative approach that yields great elegance and a rhythm that carries the viewer along. Yet the film is haunted by a sense of opportunities not taken, of an artist deliberately reining in his artistry. [9 Dec 1987, p.2]
    • Chicago Tribune
    • 47 Metascore
    • 70 Dave Kehr
    The beauty of Mr. Naderi's filmmaking lies in his combination of acute social observation (with the subway population providing its habitual cross section of New York classes and cultures) and pure, almost mathematical formalism.
    • 53 Metascore
    • 70 Dave Kehr
    It's the best kind of homemade movie, created with skill, modesty and a pleasing awareness of what works in an ultra-low-budget format that tends to be performance and storytelling, rather than visual expressiveness and technical polish.
    • 46 Metascore
    • 70 Dave Kehr
    It is a strange, beautiful, disturbing and at times literally painful work, an original and distinctive expression by a gifted young Philadelphia-based filmmaker who here confirms the talent he displayed in his 2001 film, "A Chronicle of Corpses."
    • 62 Metascore
    • 70 Dave Kehr
    The director, Ted Kotcheff, does a good job with the violence and suspense, working well with the wide-screen format, and he seems fully aware of the dark, subversive implications of the material, even if the screenplay doesn't allow him to resolve them successfully.
    • 64 Metascore
    • 70 Dave Kehr
    Using a fly-on-the-wall camera technique that suggests the cinéma vérité documentaries of Frederick Wiseman, Ms. Cammisa and Mr. Fruchtman vividly capture the dynamic of tenderness and rage that characterizes Sister Helen's relationship with the 21 men who live under her roof.
    • 71 Metascore
    • 70 Dave Kehr
    The film is still an entertaining and invigorating thriller, with a structure and some curious sexual overtones that suggest Howard Hawks's "A Girl in Every Port."
    • 75 Metascore
    • 70 Dave Kehr
    Mario Van Peebles, of course, inhabits a very different world from that of his father: a world that his father, in some small way, helped to create. It is his awareness of this paradox, of the progressive import of his father's film and of the repressive import of his father's personality, that informs this modest but interesting work.
    • 66 Metascore
    • 70 Dave Kehr
    Ms. Chaiken isn't much interested in melodramatic plot developments. Her talent lies in an evocative, accurate observation of a distinctive milieu and in the lively, convincing dialogue she creates for her characters.
    • 76 Metascore
    • 70 Dave Kehr
    Peter Weir, the standard-bearer of the Australian Tradition of Quality, is on hand to smother all the contrivances in his solemn, academic style, and the result is a moderately effective, highly affected thriller.
    • 55 Metascore
    • 70 Dave Kehr
    Functions best in its voyeuristic, sociological mode, offering fragmentary glimpses of complicated lives and the complicated social rituals that shape them.
    • 93 Metascore
    • 70 Dave Kehr
    The film was hugely successful and widely praised in its time, though it's really nothing more than the old C.B. De Mille formula of titillation and moralizing--Roman orgies and Christian martyrs--with only a fraction of De Mille's showmanship.
    • 82 Metascore
    • 70 Dave Kehr
    While the low comedy is undeniably effective, the film leaves behind a bad taste of snobbery and petty meanness.
    • 61 Metascore
    • 70 Dave Kehr
    This stuff is much too strange and much too disturbing to be invented.
    • 62 Metascore
    • 70 Dave Kehr
    It is an endearing, likable film, though its benign surface may cover some subtle propaganda on behalf of China's centralized government.
    • 74 Metascore
    • 70 Dave Kehr
    Less consumed by behavioral details than many of his filmmaking compatriots, Mr. Rasoulof makes bold use of symbolic imagery - a satellite television is confiscated and tossed overboard - suggesting that utopias inevitably come at the price of isolation and authoritarianism.
    • 56 Metascore
    • 70 Dave Kehr
    Though 30 Years to Life doesn't break any new ground, it's a light, engaging, well-carpentered film, with a quick wit and a sense of character just deep enough to lend some weight to the laugh lines.
    • tbd Metascore
    • 70 Dave Kehr
    Has an edge of cynicism and cruelty that just as often suggests the spaghetti westerns of Sergio Leone.

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