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 Fly
Lowest review score: 0 Vulgar
Score distribution:
552 movie reviews
    • 86 Metascore
    • 70 Dave Kehr
    The film may be a relic now, but it is a fascinating souvenir - particularly in its narcissism and fatalism - of how the hippie movement thought of itself. [Review of re-release]
    • 82 Metascore
    • 70 Dave Kehr
    While the low comedy is undeniably effective, the film leaves behind a bad taste of snobbery and petty meanness.
    • 47 Metascore
    • 70 Dave Kehr
    With all these safety features built in, this 1985 film is too well padded to qualify as genuinely radical wit, but in an even-toned, TV sort of way it's mildly amusing and inventive throughout.
    • 63 Metascore
    • 70 Dave Kehr
    Better than it might have been, given the limitations of this kind of brand-name filmmaking. Hodges doesn't shirk his duties, and though the film lapses too often into easy facetiousness, much of it feels surprisingly substantial. The action moves smoothly and logically, finding a rhythm that engages your attention despite the patent lack of inspiration and genuine commitment.
    • 67 Metascore
    • 70 Dave Kehr
    Maquiling creates an unusual and intriguing tone somewhere between sharp, deadpan comedy and a soft, dreamy surrealism.
    • 67 Metascore
    • 70 Dave Kehr
    In trying to reproduce the griot's tone, Mr. Kouyaté rejects psychological nuance and dramatic shading: this is a tale that advances quickly and boldly, peopled by deliberately one-dimensional characters.
    • 54 Metascore
    • 70 Dave Kehr
    Highly irritating at first, Mr. Koury's passive technique eventually begins to yield some interesting results.
    • 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.
    • 73 Metascore
    • 70 Dave Kehr
    Polished, well-structured film.
    • 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.
    • tbd Metascore
    • 70 Dave Kehr
    Has an edge of cynicism and cruelty that just as often suggests the spaghetti westerns of Sergio Leone.
    • 64 Metascore
    • 70 Dave Kehr
    A spare, painterly and scrupulously unsentimental look at the plight of illegal Mexican immigrants massed at the United States border.
    • 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.
    • 71 Metascore
    • 70 Dave Kehr
    Revels in directorial assertiveness, including an omniscient narrator and an intrusive use of slick, magazine-style graphics to identify characters and spell out slogans.
    • 50 Metascore
    • 70 Dave Kehr
    The writer and director, David Barker, discards the didactic tone of so much American independent filmmaking in favor of a character study that leads to no easy conclusions.
    • 63 Metascore
    • 70 Dave Kehr
    Mr. Ratnam is a dynamic, natural filmmaker who happily uses every device at his disposal, from rapid-fire MTV editing to sped-up action scenes that recall silent serials, to keep his lengthy film moving at a brisk pace. The film flags only when Mr. Ratnam must turn his attention to the soggy romantic subplots.
    • 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.
    • 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."
    • 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
    • 40 Metascore
    • 63 Dave Kehr
    Nightwatch is more stylish and well-plotted than your typical slasher film, but it doesn't quite stand out in a world where the horrific has become routine. [17 Apr 1998]
    • Chicago Tribune
    • 62 Metascore
    • 60 Dave Kehr
    An amiable, offhanded comedy about ethnic identity and last-chance romance.
    • 54 Metascore
    • 60 Dave Kehr
    Here is one performer (Testud) whose features -- small sad eyes, sharp nose, wide rueful smile -- can sustain a feature by themselves.
    • 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.
    • 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.
    • 54 Metascore
    • 60 Dave Kehr
    Entertaining, lightly mocking documentary.
    • 51 Metascore
    • 60 Dave Kehr
    Ms. Gardos is not a particularly flavorful filmmaker, but she is an honest one.
    • 62 Metascore
    • 60 Dave Kehr
    Handsome, well-executed film that nonetheless feels a bit long at 111 minutes. Those who are already anime fans will certainly find it stimulating; but this may not be the one to convert the uninitiated.
    • 60 Metascore
    • 60 Dave Kehr
    Mr. Sawyer eventually overreaches, striving for tragedy with a grim, cautionary ending that seems meant to evoke "Frankenstein." But the film's offhand, homemade quality sustains a quirky appeal.
    • 58 Metascore
    • 60 Dave Kehr
    Sustains the charm of an early 60's New York romance.
    • 60 Metascore
    • 60 Dave Kehr
    Mr. Burger has a performer who can dart between stentorian self-assurance and cringing pathos, maintaining his character's ambiguity until the final sequence of this resourceful and ingenious entertainment.

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