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

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 The Good, the Bad and the Ugly (re-release)
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
553 movie reviews
    • 83 Metascore
    • 75 Dave Kehr
    There is a great deal of value in Branagh's version, not least in his own lead performance as a soft, indefinite Henry who defines himself over the course of the play. [15 Dec 1989]
    • Chicago Tribune
    • 56 Metascore
    • 75 Dave Kehr
    The world of Wall Street is that of a lush soap opera-"Dynasty" with a moral. It gets the barn burning, all right, but it has no impact. [11 Dec 1987, p.A]
    • Chicago Tribune
    • 72 Metascore
    • 75 Dave Kehr
    Big
    Big moves with polish and assurance. It's too soon to tell whether Marshall has anything of her own to say, but Big is proof that she can handle the Hollywood machine, and that is no small thing.
    • 48 Metascore
    • 75 Dave Kehr
    A satire is only as good as its subject, and in the very funny I'm Gonna Git You Sucka, Keenen Ivory Wayans has found a rich and relatively untapped one. The wit and openness of I'm Gonna Git You Sucka has more to contribute to race relations than the smug piety of "Mississippi Burning." As a positive image, a good, shared laugh is hard to beat. [14 Dec 1988, p.1]
    • Chicago Tribune
    • 67 Metascore
    • 75 Dave Kehr
    A smart, spectacular and rousing piece of work, one that strains against but can't quite escape the natural limitations imposed by a sequel. [4 July 1990, p.C1]
    • Chicago Tribune
    • 50 Metascore
    • 75 Dave Kehr
    Prince of Darkness is a real tour de force, and a welcome return.
    • 71 Metascore
    • 75 Dave Kehr
    Much of the film`s charm resides in the fact that there is no reason for any of this to happen, except for the director`s sheer will that it be so.
    • 63 Metascore
    • 75 Dave Kehr
    Honey, I Shrunk the Kids is the happiest surprise of this summer so far, a children's film from Walt Disney Productions that effortlessly renews the best tradition of that studio's live-action features.
    • 62 Metascore
    • 75 Dave Kehr
    Professionalism is both Nothing in Common's greatest strength and its greatest limitation. It's a very finely crafted piece, a product of hard work and careful consideration, yet nothing breaks through the craft--there's no personal drive to it.
    • 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.
    • 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.
    • 80 Metascore
    • 70 Dave Kehr
    Using telephoto lenses to bring us close to the characters, Techine directs Wild Reeds with an impeccable sense of tempo, unhurried by narrative pressures. The actors seem to find exactly the right, internal rhythm for each scene the leisurely rhythm of people discovering each other and discovering themselves. This is certainly one of the year's best films. [30 June 1995, p.54]
    • New York Daily News
    • 61 Metascore
    • 70 Dave Kehr
    The freer and more sophisticated approach of "Divine Intervention" makes these traditional-minded documentaries look somewhat stodgy and old-fashioned by comparison, but both have a value as reportage that Mr. Suleiman's film does not pretend to have.
    • tbd Metascore
    • 70 Dave Kehr
    Has an edge of cynicism and cruelty that just as often suggests the spaghetti westerns of Sergio Leone.
    • 54 Metascore
    • 70 Dave Kehr
    Highly irritating at first, Mr. Koury's passive technique eventually begins to yield some interesting results.
    • 74 Metascore
    • 70 Dave Kehr
    In spite of its many flaws, the film never loses its focus on its fascinating central figure.
    • 67 Metascore
    • 70 Dave Kehr
    Maquiling creates an unusual and intriguing tone somewhere between sharp, deadpan comedy and a soft, dreamy surrealism.
    • 68 Metascore
    • 70 Dave Kehr
    Mr. Kelemer captures the sad textures of the Rogala brothers' lives with an appropriate balance of sympathy and detachment.
    • 56 Metascore
    • 70 Dave Kehr
    Mr. McElhinney has created a movie that is not without the flaws endemic in low-budget productions but still projects an amazing degree of stylistic assurance and originality.
    • 53 Metascore
    • 70 Dave Kehr
    Though undoubtedly a vanity project -- the music clearances alone must have cost much more than the film could ever hope to gross -- it functions pleasantly enough as an exercise in free association.
    • 36 Metascore
    • 70 Dave Kehr
    Even the walls seem to be sweating something viscous and unpleasant.
    • 65 Metascore
    • 70 Dave Kehr
    Provides more than enough sentimental catharsis for a satisfying evening at the multiplex.
    • 51 Metascore
    • 70 Dave Kehr
    Unfolds, skipping blithely from comic to melodramatic vignettes and back again, it follows the classical structure of a Shakespearean forest comedy, sorting out the mismatched couples and finding appropriate mates (or at least appropriate friendships) for everyone involved.
    • 69 Metascore
    • 70 Dave Kehr
    There are subtitles to reduce everything to simple English declarative sentences. This gives the viewer a decidedly unfair advantage over the characters: we can understand what they cannot and are invited to laugh at their mutual incomprehension.
    • 39 Metascore
    • 70 Dave Kehr
    For those looking for a vacation from the irony and the cruelty that have invaded so much of American popular culture, this scruffy little Indian film is a delightful getaway.
    • 57 Metascore
    • 70 Dave Kehr
    A rueful, reflective companion piece to "Born to Lose."
    • 61 Metascore
    • 70 Dave Kehr
    This stuff is much too strange and much too disturbing to be invented.
    • 45 Metascore
    • 70 Dave Kehr
    A product neither of Hollywood nor the New York-Sundance indie axis, Manna From Heaven is a true outsider film, and while it would be easy to fault its lack of technical polish, somewhat discursive script and uneven performances, it is also refreshingly sincere, gentle and good-natured.
    • 68 Metascore
    • 70 Dave Kehr
    The film uses standard techniques to tell its tale -- videotaped interviews with survivors interspersed with newsreel images from the period -- but does so with integrity and attention to detail.
    • 71 Metascore
    • 70 Dave Kehr
    Without exaggerating their lovability or condescending to their foolishness, Mr. Siegel makes vivid, likable people out of his three protagonists as they affect one another and are affected in turn.

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