For 562 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 6.1 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Naked Lunch
Lowest review score: 0 Superbabies: Baby Geniuses 2
Score distribution:
562 movie reviews
    • 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.
    • 59 Metascore
    • 60 Dave Kehr
    Typical Nilsson mix of the audacious and the cringe-inducing.
    • 57 Metascore
    • 60 Dave Kehr
    An enjoyable, noisy romp.
    • 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.
    • 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.
    • 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.
    • 46 Metascore
    • 60 Dave Kehr
    Richard Attenborough's direction achieves that balance of impersonality and brisk pacing we've come to recognize as "professionalism," and he doesn't clog up the dancing with too many stylistic gimmicks.
    • 53 Metascore
    • 60 Dave Kehr
    As broad and cartoonish as the screenplay is, there is an accuracy of observation in the work of the director, Frank Novak, that keeps the film grounded in an undeniable social realism.
    • 76 Metascore
    • 60 Dave Kehr
    Wyler lays out all the elements with care and precision, but the romantic comedy never comes together - it's charm by computer. [Review of re-release]
    • 46 Metascore
    • 60 Dave Kehr
    It is a sincere, thoughtful work, though not a very accomplished one.
    • 76 Metascore
    • 60 Dave Kehr
    This story of a party girl (Audrey Hepburn) in love with a gigolo (George Peppard) allows Edwards to create a very handsome film, with impeccable Technicolor photography by Franz Planer. [Review of re-release]
    • 56 Metascore
    • 60 Dave Kehr
    Clearly understands its target audience of first-generation Indian-Americans and has its pleasures to provide.
    • 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)
    • 61 Metascore
    • 60 Dave Kehr
    Informal, pleasant film that ably captures Mr. Traoré's spirit.
    • 87 Metascore
    • 60 Dave Kehr
    There are several solid laughs and some excellent supporting performances. But this is a film to be wary of.
    • 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.
    • 82 Metascore
    • 60 Dave Kehr
    This is compelling stuff, but there is something deeply distracting in the use of recreated material.
    • 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.
    • 71 Metascore
    • 60 Dave Kehr
    By and large Mr. Hoch's portrayals are as harsh and authentic as a police photograph, but an occasional touch of sentimentality creeps in.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Dave Kehr
    The resulting compromise does not produce a perfect film, but it is a fine record of a classic production and an important reminder of an event that has not stopped echoing in American culture.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Dave Kehr
    Sustains the charm of an early 60's New York romance.
    • 57 Metascore
    • 50 Dave Kehr
    For an outside observer, Saints and Sinners doesn't make particularly compelling viewing, but Ms. Honor has given her subjects an excellent present on their big day: the ultimate wedding video.
    • 52 Metascore
    • 50 Dave Kehr
    A wan, wistful Generation Y romance.
    • 56 Metascore
    • 50 Dave Kehr
    The film gets by on the sheer good-naturedness Reitman is able to place in all of his efforts, though it doesn't seem likely to inspire the same level of affection as the original. Innocence is one quality that can never quite be recaptured. [16 Jun 1989, p.28]
    • Chicago Tribune
    • 53 Metascore
    • 50 Dave Kehr
    There is a genuine sweetness in Reitman's work that balances the innate cruelty of much '80s film comedy. But this time the gags are too feeble to provide a counterweight and the film tips into the cute, benign and pointless. [9 Dec 1988, p.A]
    • Chicago Tribune

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