For 552 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:
552 movie reviews
    • 51 Metascore
    • 60 Dave Kehr
    Emerges as an engaging if occasionally hokey inspirational melodrama about the importance of community in the face of life's disappointments.
    • 56 Metascore
    • 60 Dave Kehr
    Clearly understands its target audience of first-generation Indian-Americans and has its pleasures to provide.
    • 64 Metascore
    • 60 Dave Kehr
    AKA
    His (Roy's) informed contempt is highly entertaining, but he neglects some of the more problematical and perhaps more illuminating aspects of his story.
    • 38 Metascore
    • 60 Dave Kehr
    As soon as the medallion appears, so do the digital maneuverings -- speeded-up movement, composite images, objects and people morphing into supernatural thingamajigs -- that undercut the genuine thrills of the genuine action.
    • 48 Metascore
    • 60 Dave Kehr
    Though the film is far from polished, the force of its significance to Mr. Frey, as well as the urgency of its political message, give it some genuine impact.
    • 62 Metascore
    • 60 Dave Kehr
    A strange, disturbing and yet occasionally quite funny cultural artifact from the new Russia.
    • 52 Metascore
    • 60 Dave Kehr
    A generally effective sex comedy, distinguished by its origins (Brazil) and the considerable appeal of its star, Sonia Braga. (Review of original release)
    • 47 Metascore
    • 60 Dave Kehr
    Emerges as an uncommonly sober, well-researched film of its type.
    • 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.
    • 44 Metascore
    • 60 Dave Kehr
    Good-natured, mildly appealing video feature.
    • 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.
    • 47 Metascore
    • 60 Dave Kehr
    The essential humanity of the characters shines through, giving face and form to a subculture the movies have largely neglected.
    • 55 Metascore
    • 60 Dave Kehr
    Has the bad luck to come on the heels of Kathryn Bigelow's beautifully made and politically impassioned "K-19," making this submarine picture -- a relatively modest, low-budget affair -- seem skimpy by comparison.
    • 50 Metascore
    • 60 Dave Kehr
    The material continues to carry its inherent emotional power and moral importance. As banal as the telling may be -- and at times, All My Loved Ones more than flirts with kitsch -- the tale commands attention.
    • 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.
    • 62 Metascore
    • 60 Dave Kehr
    Depending on your choice, the film is either an unpleasantly masochistic fantasy or an unpleasantly sadistic one.
    • tbd Metascore
    • 60 Dave Kehr
    This is a bumpy ride, but one worth taking.
    • 57 Metascore
    • 60 Dave Kehr
    An enjoyable, noisy romp.
    • 86 Metascore
    • 60 Dave Kehr
    The film has no qualities beyond its formal polish--and its careful avoidance (or rather, displacement) of the moral and political issues involved can seem too crafty, too convenient.
    • tbd Metascore
    • 60 Dave Kehr
    Unfortunately, its inescapable comparison is to David Gordon Green's "George Washington," made the same year as Mr. Davidson's film but with a far greater sense of style and a more profound grasp of the fragility of young lives. Way Past Cool can't stand up to that kind of competition.
    • 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.
    • 63 Metascore
    • 60 Dave Kehr
    The film's mechanical workings are still impressive, but between the unsympathetic characters and the coldly precise direction, there is little here for an audience to clutch to its heart.
    • 54 Metascore
    • 60 Dave Kehr
    Its luxuriant, nearly three-hour running time allows lots of room for spectacular musical numbers and dramatic climaxes that are extended to the breaking point and beyond.
    • 61 Metascore
    • 60 Dave Kehr
    Most impressive, and the only segment that dares to criticize the terrorists directly, is Mr. Imamura's contribution, the last part of the film.
    • 82 Metascore
    • 60 Dave Kehr
    This is compelling stuff, but there is something deeply distracting in the use of recreated material.
    • 51 Metascore
    • 60 Dave Kehr
    Joins the small pool of films that have dared to use Imax to tell a story.
    • 58 Metascore
    • 60 Dave Kehr
    Those seeking a serious sociological examination of the role of stock car racing in late capitalist America will probably want to search elsewhere, but audiences looking for a kick will find one -- almost literally -- in Mr. Wincer's work.
    • 64 Metascore
    • 60 Dave Kehr
    Far more ambivalent and ambiguous film than Mr. Spielberg's. Both North and South are portrayed as brutal, abusive regimes that use their citizens as so much cannon fodder.
    • 82 Metascore
    • 60 Dave Kehr
    The script is funny and observant, full of shocks of recognition, but for all his progress as a writer, Allen's direction remains disconcertingly amateurish. Still, it remains perhaps the only film in which Allen has been able to successfully imagine a personality other than his own.
    • 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.