For 966 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 5.5 points lower than other critics. (0-100 point scale)

Dave Kehr's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Notorious
Lowest review score: 0 Vulgar
Score distribution:
966 movie reviews
    • 70 Metascore
    • 70 Dave Kehr
    The original antimarijuana film, offering the true inside story of the devil weed that drives men to savage lusts and women to unspeakable depravities, along with a little bit of dumb fun.
    • Chicago Reader
    • 63 Metascore
    • 30 Dave Kehr
    Dismal Stanley Kramer morality play about a middle-class couple facing the prospect of their daughter's marriage to a black man (Sidney Poitier). A disaster on all counts.
    • 61 Metascore
    • 75 Dave Kehr
    Hot Shots! is very sharp and very funny, and if it doesn't have the aggressive, anarchic edge of "Airplane!" (attitude seems to be the specialty of David Zucker, who has just released "The Naked Gun 2 1/2 "), it is consistently, almost exhaustingly hilarious.
    • 54 Metascore
    • 25 Dave Kehr
    Unlike Richard Pryor, whose rough language adds an important rhythmic punctuation to his monologues, Murphy uses vulgarity to shock and divide his audience.
    • 44 Metascore
    • 88 Dave Kehr
    Though The burbs is hardly an actor's film, Hanks continues to demonstrate the ease and maturity that has been his since Big, while Dern, Ducommun and Feldman lend broad but effective support.
    • 93 Metascore
    • 100 Dave Kehr
    Buñuel conjures with Freudian imagery, outrageous humor, and a quiet, lyrical camera style to create one of his most complex and complete works, a film that continues to disturb and transfix.
    • 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.
    • 45 Metascore
    • 20 Dave Kehr
    Director Colin Higgins plays foul with the audience, constructing some of the most dishonest suspense sequences ever filmed, and ends with a thriller that is obnoxious and manipulative in the extreme. If it were exciting, I suppose it wouldn't matter, but it's not: Higgins can't be bothered to bring the slightest bit of conviction to his plot, which takes nearly two hours to run its unimaginative course.
    • 40 Metascore
    • 50 Dave Kehr
    Poltergeist at this point is a brand name without a distinctive product to sell-no vivid characters, no unique situations, no look or meaning of its own.
    • 71 Metascore
    • 75 Dave Kehr
    Nimoy directs the comedy in a loose, relaxed, almost sketch-like manner, but when the film moves into its multiple-cliffhanger climax, he's still able to generate some genuine dash and tension. The only drawback is that the Enterprise gang is starting to look a little long in the tooth for such strenuous action.
    • 84 Metascore
    • 88 Dave Kehr
    Homicide isn't easy to take, but its vision is chillingly persuasive. [18 Oct 1991, p.B]
    • Chicago Tribune
    • 76 Metascore
    • 88 Dave Kehr
    Sid & Nancy is a movie that features head-bashings, drug overdoses, stabbings and a more-or-less constant round of pointless, stupid violence, and yet its most prominent quality is its sweetness. This is a love story--an unlikely, perverse, disturbing love story, but a genuine one.
    • 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.
    • 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.
    • 92 Metascore
    • 90 Dave Kehr
    An excellent film, still as fresh as the day it was made.
    • 51 Metascore
    • 25 Dave Kehr
    It sounds like standard Cinderella stuff (and the script comes complete with plenty of allusions to princesses in towers), but it's played here with an emphasis on possessions and possessing that borders on the obscene… It's a pretty ugly movie. [23 Mar 1990, Friday, p.C]
    • Chicago Tribune
    • 96 Metascore
    • 80 Dave Kehr
    The Maltese Falcon is really a triumph of casting and wonderfully suggestive character detail; the visual style, with its exaggerated vertical compositions, is striking but not particularly expressive, and its thematics are limited to intimations of absurdism (which, when they exploded in Beat the Devil, turned out to be fairly punk). But who can argue with Bogart's glower or Mary Astor in her ratty fur?
    • 52 Metascore
    • 50 Dave Kehr
    A wan, wistful Generation Y romance.
    • 51 Metascore
    • 60 Dave Kehr
    Joins the small pool of films that have dared to use Imax to tell a story.
    • 45 Metascore
    • 75 Dave Kehr
    Boomerang, a sleek, confident and very funny urban comedy that may not entirely overcome Murphy's more discomfiting tendencies, but at least manages to put them to good use. [01 Jul 1992]
    • Chicago Tribune
    • 84 Metascore
    • 90 Dave Kehr
    The film represents a studied, sophisticated approach to instinctual emotions: it's carefully, calculatingly naive, and amazingly it works.
    • 69 Metascore
    • 75 Dave Kehr
    Burton's direction rises to a Wagnerian hysteria (an impression backed by Danny Elfman`s roaring orchestral score) as the two mortal enemies fight it out on the brink of a zillion-foot drop. Burton achieves a genuine majesty at that moment-though he would need one or two more like it to make Batman a genuinely memorable film.
    • 75 Metascore
    • 90 Dave Kehr
    A more concise and affecting summation of the Tibetan crisis would be hard to imagine.
    • 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.
    • 46 Metascore
    • 60 Dave Kehr
    Bright, good-spirited and blissfully short.
    • 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.
    • 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
    • 47 Metascore
    • 50 Dave Kehr
    It's a thoroughly professional job, but even in making a feature film, Giraldi still seems to be working to please a client. He shoots the script, supplying just enough style to make it stand up but not enough to make it move.
    • 47 Metascore
    • 25 Dave Kehr
    It is one of the conventions of movies that maladies of the brain make people more childlike, lovable and full of life, as in, most recently, "Rain Man" and "Awakenings." But Regarding Henry drops even the marginally realistic trappings of those films in favor of pure fantasy, a fantasy of starting over, of returning to the womb. [10 July 1991, p.C-1]
    • Chicago Tribune

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