Dave Kehr Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
2/4 50% Willow (1988) It takes forever for the story to get started, and once it does it holds few surprises.‐ Chicago Tribune
Read More | Posted Dec 6, 2018
1/4 17% Dr. Giggles (1992) Though Coto demonstrates a fairly sophisticated film school technique, he is interested in his characters only as stick figures to be marched through a mechanical plot. There's no emotional connection, and without that, there can be no real suspense.‐ Chicago Tribune
Read More | Posted Dec 4, 2018
1/4 80% Dominick and Eugene (1988) Dominick and Eugene is every bit as icky as its premise would suggest, and possibly even more so. The film is a heavy, clanging guilt machine that functions by systematically exploiting Nicky's handicap.‐ Chicago Tribune
Read More | Posted Oct 17, 2018
56% Prince of Darkness (1987) ''Prince of Darkness'' is a real tour de force, and a welcome return.‐ Chicago Tribune
Read More | Posted Oct 4, 2018
97% A Star Is Born (1954) Judy Garland gives everything she has as the young star on the way up; her performance is an emotional autobiography.‐ Chicago Reader
Read More | Posted Oct 3, 2018
100% A Star Is Born (1937) this 1937 William Wellman-David O. Selznick production (itself a partial remake of Cukor's 1932 What Price Hollywood?) is extremely watchable, not least because of the Technicolor portrait it paints of art deco Hollywood.‐ Chicago Reader
Read More | Posted Oct 3, 2018
4/4 93% Lady and the Tramp (1955) The quintessential American love story -- the one between the spoiled heiress and the spontaneous, fun-loving guy from the wrong side of the tracks -- has seldom been more elegantly and entertainingly told.‐ Chicago Tribune
Read More | Posted Sep 24, 2018
No Score Yet Parsifal (1982) Edith Clever, miming to the voice of Yvonne Minton as the witch Kundry, gives a performance of great passion and authority-a brilliantly effective revival of silent-film acting techniques.‐ Chicago Reader
Read More | Posted Aug 29, 2018
No Score Yet Don Giovanni (1979) The visual context is ravishing, with a lighting scheme that builds from the understated and naturalistic to shocking contrasts of black and white. Meanwhile, the camera moves with a preternatural grace.‐ Chicago Reader
Read More | Posted Aug 29, 2018
No Score Yet Moses and Aaron (1975) Straub and Huillet's investigation of the medium is an important experience for anyone interested in the way film represents reality-or fails to.‐ Chicago Reader
Read More | Posted Aug 29, 2018
100% The Kid (1921) It was Chaplin's first full-length film, and the action is perhaps too episodic; he hadn't yet mastered the structural demands of the long form. But several of the episodes... are sublime.‐ Chicago Reader
Read More | Posted May 14, 2018
84% Beetlejuice (1988) Much as Joe Dante did in ``Gremlins`` and ``Innerspace,`` Burton delights in creating in live-action format the impossible effects of cartoons and comic strips.‐ Chicago Tribune
Read More | Posted Mar 29, 2018
2/4 38% Beaches (1988) For all of its insistence on the open, even gushing, expression of feeling, Beaches finally seems a little bit sneaky.‐ Chicago Tribune
Read More | Posted Mar 22, 2018
87% The Candidate (1972) Much of it has a pleasing air of accuracy. But Redford's inability to suggest any irony about himself finally sinks it -- it's the only sanctimonious satire you'll ever see.‐ Chicago Reader
Read More | Posted Feb 12, 2018
64% Independence Day (1996) Sonnenfeld has directed with gusto and precision from a vaguely plotted but often hilarious screenplay, and his view of Manhattan as a holding pen for intergalactic refugees has the touch of authentic experience fundamental to all great comedy.‐ New York Daily News
Read More | Posted Jan 18, 2018
90% Lilies of the Field (1963) Well-meaning rot.‐ Chicago Reader
Read More | Posted Jan 8, 2018
82% The Shout (1979) [The Shout] is shrewd, imaginative moviemaking.‐ Chicago Reader
Read More | Posted Dec 12, 2017
100% El Dorado (1967) A very funny, very moving work, graced by the cinema's cleanest, most classical style. ‐ Chicago Reader
Read More | Posted Nov 20, 2017
100% Fort Apache (1948) The nonlinear narrative, with its infinite digressions and asides, is designed less to tell a story than to present a world-a world dense in physical detail and fraught with moral challenges.‐ Chicago Reader
Read More | Posted Nov 20, 2017
80% Duel in the Sun (1946) There's no doubt that it goes too far in almost every direction-but that touch of obsession is exactly what saves‐ Chicago Reader
Read More | Posted Nov 16, 2017
3/4 63% Home Alone (1990) Home Alone seems to be nominating itself as a Christmas classic [and] the film does go some way toward getting the job done. ‐ Chicago Tribune
Read More | Posted Nov 10, 2017
96% Touch of Evil (1958) Made in 1958, it was Orson Welles's last Hollywood film, and in it he makes transcendent use of the American technology his genius throve on; never again would his resources be so rich or his imagination so fiendishly baroque. ‐ Chicago Reader
Read More | Posted Oct 19, 2017
3.5/4 100% Talking to Strangers (1988) Talking to Strangers makes no attempt to cozy up to its audience, to provide the comfort of conventional values or a guided, linear narrative form. It`s a confrontational film.‐ Chicago Tribune
Read More | Posted Oct 2, 2017
3/4 57% Nothing in Common (1986) It`s hard not to respect the kind of professionalism on display. ‐ Chicago Tribune
Read More | Posted Aug 16, 2017
90% Gallipoli (1981) Classy and lifeless.‐ Chicago Reader
Read More | Posted Jul 7, 2017
No Score Yet All Screwed Up (1974) [A] tiresome Lina Wertmüller comedy.‐ Chicago Reader
Read More | Posted May 11, 2017
3.5/4 90% A Short Film About Killing (1988) Devoid of sentimentality, self-satisfaction and subconscious sexiness, A Short Film about Killing has the coolness and rigor of a mathematical proof. Yet few films have cried more passionately and articulately against the cycle of human violence. ‐ New York Daily News
Read More | Posted Apr 11, 2017
53% King Kong (1976) It's madness to try to remake a myth, but even so, John Guillermin's jokey, low-camp film seems awfully inadequate.‐ Chicago Reader
Read More | Posted Mar 14, 2017
2/4 87% Pelle the Conqueror (Pelle Erobreren) (1988) The chilly, oppressive Danish film Pelle the Conqueror has only one artistic aim: to wrench as much pity as possible from its audience.‐ Chicago Tribune
Read More | Posted Feb 27, 2017
3.5/4 52% The 'Burbs (1989) The 'Burbs doesnit quite go the distance, but for most of its length it is a superbly inventive, insightful and funny black comedy.‐ Chicago Tribune
Read More | Posted Feb 22, 2017
3/4 89% The Color of Money (1986) It is a surprise, and a disappointment.‐ Chicago Tribune
Read More | Posted Feb 6, 2017
3/4 95% Cold Fever (1996) The film has an engagingly hip sensibility that never descends into snobbery and an underlying seriousness that lends a touch of poetry to the self-consciously bizarre proceedings.‐ New York Daily News
Read More | Posted Jan 10, 2017
2/4 71% Empire of the Sun (1987) Empire of the Sun wants very badly to be a great film, though as Steven Spielberg really ought to know by now, wishing doesn't make it so.‐ Chicago Tribune
Read More | Posted Oct 26, 2016
86% The Abominable Dr. Phibes (1971) A former art director, Fuest gives the film a preposterously lush, Ken Russell-ish look. Highly enjoyable.‐ Chicago Reader
Read More | Posted Oct 19, 2016
2/4 98% The Vanishing (Spoorloos) (1988) It's a film that functions on curiosity rather than real interest (given the fact that the characters are thinly drawn and largely unsympathetic), yet in the end punishes the audience for wanting to have its questions answered.‐ Chicago Tribune
Read More | Posted Oct 19, 2016
86% The Spiral Staircase (1946) This 1946 film is one of [Siodmak's] least interesting.‐ Chicago Reader
Read More | Posted Oct 17, 2016
100% Bluebeard (1944) Edgar G. Ulmer somehow managed to transform the absurd limitations of the scripts, budgets, and actors he was given to work with into a mad aesthetic principle.‐ Chicago Reader
Read More | Posted Oct 17, 2016
88% The Magnificent Seven (1960) What was wonderful in the Kurosawa film -- the recruiting and training of the mercenaries -- is just dead time here.‐ Chicago Reader
Read More | Posted Sep 21, 2016
3/4 94% Howards End (1992) Howards End provides more than enough in the way of production values-impeccable set decoration, elaborate costumes, beautiful locations and exquisite cinematography-to keep its primary audience entertained.‐ Chicago Tribune
Read More | Posted Aug 24, 2016
3.5/4 83% Jerry Maguire (1996) Zellweger's rumpled, anti-star quality plays in perfect contrast to Preston's buff and polish. She redeems Jerry Maguire and Tom Cruise, too by making him human again.‐ New York Daily News
Read More | Posted Aug 24, 2016
71% Black Sunday (1977) Violence (more than 30 on-screen deaths) makes a poor substitute for suspense, while sloppy, rear projection work drains most of the excitement from the climax.‐ Chicago Reader
Read More | Posted Aug 23, 2016
2/4 43% Everybody's All-American (1988) The characters are simply postulated, given whole, from the start; there`s no depth or development in the performances; and each scene exists only to make a single plot point.‐ Chicago Tribune
Read More | Posted Aug 23, 2016
3.5/4 87% Sid and Nancy (1986) This is a love story -- an unlikely, perverse, disturbing love story, but a genuine one.‐ Chicago Tribune
Read More | Posted Aug 9, 2016
3/4 54% Bill & Ted's Bogus Journey (1991) Bill and Ted have a guileless, immediate way of dealing with the world that makes them both very likeable and highly entertaining to watch.‐ Chicago Tribune
Read More | Posted Jul 29, 2016
91% The Sugarland Express (1974) The pace falters near the end, but overall this is a brilliantly calculated audience pleaser.‐ Chicago Reader
Read More | Posted Jun 24, 2016
3/4 86% Sign o' the Times (1987) The utopian rocker, whose manner and music promise a blissful, dreamy union of the races and the sexes, doesn`t need a story line to communicate his meanings, which remain by pop standards unusually complex and considered.‐ Chicago Tribune
Read More | Posted Apr 25, 2016
67% Purple Rain (1984) Prince's 1984 movie debut seems more like his deification, with an aggressively stupid plot line that serves only to set him up as a paragon of artistic integrity, sexual prowess, and superhuman sensitivity.‐ Chicago Reader
Read More | Posted Apr 21, 2016
50% Jungle Book (1942) It's a formless, often dull time, but the verdant Technicolor (shot by Lee Garmes) gives it a nice gloss.‐ Chicago Reader
Read More | Posted Apr 15, 2016
50% Privilege (1967) Peter Watkins's hysterical vision of rock and roll fascism was timely in 1967, though it now seems too much a stern warning to youth to be taken seriously.‐ Chicago Reader
Read More | Posted Apr 12, 2016
100% Ordet (The Word) (1954) The film is extremely sensual in its spareness, a paradox always at the center of Dreyer's work.‐ Chicago Reader
Read More | Posted Apr 10, 2016