For 716 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 5.8 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Unforgiven
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
716 movie reviews
    • 38 Metascore
    • 75 Dave Kehr
    Garris, filming mainly in a bobbing and weaving, hand-held camera style, keeps the scenes pared down to their functional essentials, wisely substituting speed for nuance. Sleepwalkers gets the job done. [13 Apr 1992, p.5C]
    • Chicago Tribune
    • 64 Metascore
    • 75 Dave Kehr
    Mingling a frank trashiness with unexpected ambition, Wes Craven's The Serpent and the Rainbow emerges as one of the more commanding horror movies of recent months.
    • 55 Metascore
    • 75 Dave Kehr
    Valmont is a superb piece of craftsmanship, impeccable in every detail from lighting to costuming, but as a work of art it remains tentative and blurred. [17 Nov 1989]
    • Chicago Tribune
    • 52 Metascore
    • 75 Dave Kehr
    Ishtar is a good movie, but you can't help but wonder if, lurking somewhere in those cans of outtakes, there isn't a great movie, too. [15 May 1987]
    • Chicago Tribune
    • 61 Metascore
    • 75 Dave Kehr
    Kindergarten Cop never feels mercenary in the manner of, say, "Look Who's Talking Too" or "Three Men and a Little Lady." It is, instead, an extremely amiable, good-hearted film, unashamed of its desire to please and quite entertaining for it. [21 Dec 1990, p.B]
    • Chicago Tribune
    • 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.
    • 80 Metascore
    • 75 Dave Kehr
    Contains some gaspingly funny moments. [29 July 1988, Friday, p.A]
    • Chicago Tribune
    • 42 Metascore
    • 75 Dave Kehr
    Coscarelli has captured the texture of a disjointed, half-remembered nightmare, full of figures and events that seem to have some symbolic value, but which have lost their precise meaning in the process of floating up from the subconscious.
    • 73 Metascore
    • 75 Dave Kehr
    Successfully avoids the grandiose mythmaking that has been the bane of the baseball movie from ''Pride of the Yankees'' to ''The Natural.'' Rather than a vapid national epic, it is a warm, droll, deftly cracked romantic comedy. [15 June 1988]
    • 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
    • 62 Metascore
    • 75 Dave Kehr
    There's little doubt that Jacob's Ladder is a failure-it's a messy, unsatisfying and often overreaching film-yet it fails in interesting, ambitious ways. It's a must-see disaster. [2 Nov 1990, p.C]
    • Chicago Tribune
    • 66 Metascore
    • 75 Dave Kehr
    Even and assured, Colors may not descend to the sloppy, indulgent depths of ''Easy Rider'' and ''The Last Movie,'' but neither does it rise to the delirious, dangerous heights of those films. [15 Apr 1988]
    • Chicago Tribune
    • 35 Metascore
    • 75 Dave Kehr
    A surprisingly well-made action movie with a definite directorial personality. [03 Sep 1986, p.7C]
    • Chicago Tribune
    • 76 Metascore
    • 75 Dave Kehr
    There is enough intelligence and craftsmanship in the execution of Hoosiers to make it seem, if not exactly fresh, at least respectably entertaining. [27 Feb 1987, Friday, p.A]
    • Chicago Tribune
    • 70 Metascore
    • 75 Dave Kehr
    For Keitel, this is the Scorsese film that Scorsese never gave him, in which he gets to elbow Robert De Niro away from center stage and take the best part for himself. He seizes the opportunity: Bad Lieutenant immediately becomes one of the defining roles of his career. [22 Jan 1993, Friday, p.C]
    • Chicago Tribune
    • 86 Metascore
    • 75 Dave Kehr
    Sex, lies, and videotape discovers a distinctive, laconic rhythm right from the start, thanks to Soderbergh's taste for holding his shots just a bit longer than conventional, slick editing technique would allow. [11 Aug 1989, Friday, p.A]
    • Chicago Tribune
    • 75 Metascore
    • 75 Dave Kehr
    A good summer movie, directed with great verve and imagination and filled with innovative, eye-popping effects. Cameron never relinquishes his grip on the audience, smoothly segueing from action sequence to action sequence and topping himself each time. [3 July 1991, Tempo, p.1]
    • Chicago Tribune
    • 62 Metascore
    • 75 Dave Kehr
    Hogan is an appealing performer, and Kozlowski has a brisk charm as his love interest. Indeed, the film functions far better as romantic comedy than it does as social satire, building an entertaining sexual suspense as an unacknowledged attraction builds between the two leads.
    • 73 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.
    • 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
    • 67 Metascore
    • 75 Dave Kehr
    Blaze is a high-spirited, though slightly botched follow-up to Shelton's appealing Bull Durham of 1988, drawing on the same combination of enthusiastic heterosexuality and cozy male bonding. Politics here takes the place of baseball in the earlier film: another all-American team sport, with its veterans and rookies, official rules and unspoken scams, high idealism and casual corruption. [13 Dec 1989, p.1C]
    • 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

Top Trailers