For 1,066 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 2 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 A Separation
Lowest review score: 0 Just Go with It
Score distribution:
1,066 movie reviews
    • 22 Metascore
    • 30 Dana Stevens
    Has some funny, dirty-minded jokes, a few amusing cameos (including Julianne Moore in clown makeup) and a soundtrack loaded with juicy cuts of mid-70's vintage soul and funk.
    • 35 Metascore
    • 30 Dana Stevens
    May have had the unintended effect of obscuring the original it meant to honor.
    • 71 Metascore
    • 30 Dana Stevens
    I don't know how much The Score cost, but it's pretty close to worthless.
    • 38 Metascore
    • 30 Dana Stevens
    Seems both overplotted and underimagined, though there is at least some creativity and a dose of realism, evident in the hairstyles themselves.
    • 39 Metascore
    • 30 Dana Stevens
    Like a ham-fisted high-concept public service announcement, directed with stagy deliberateness and written with tin-eared vernacular speechiness.
    • 67 Metascore
    • 30 Dana Stevens
    Clearly, this is an affair to forget.
    • 21 Metascore
    • 30 Dana Stevens
    Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
    • 26 Metascore
    • 30 Dana Stevens
    It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.
    • 34 Metascore
    • 30 Dana Stevens
    Works hard at being charming, but comedy is best when it looks effortless.
    • 31 Metascore
    • 30 Dana Stevens
    The relentless upbeatness of Life or Something Like It wrecks the possibility of either real laughter or genuine pathos.
    • 32 Metascore
    • 30 Dana Stevens
    An unholy, incoherent mess.
    • 34 Metascore
    • 30 Dana Stevens
    This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
    • 31 Metascore
    • 30 Dana Stevens
    Emotionally incoherent.
    • 29 Metascore
    • 30 Dana Stevens
    Before Civil Brand erupts into over-the-top melodrama (which is pretty early), it shows some interest in its characters, and in its less screechy moments the dialogue has the rough, bantering ring of actual speech.
    • 33 Metascore
    • 30 Dana Stevens
    It's like watching two superbly conditioned rowers try to race a boat made of folded newspaper. Hard as they work, they just can't make it go any faster.
    • 48 Metascore
    • 30 Dana Stevens
    Unfortunately, the movie's real setting is a sentimental fantasy world, and its story is a spectacularly incoherent exercise in geopolitical wish fulfillment.
    • 29 Metascore
    • 30 Dana Stevens
    Even fans of open-wheel racing, the high-speed, high-stress pastime that is the subject of Renny Harlin's hectic new film, may walk away from it more logy than exhilarated.
    • 35 Metascore
    • 30 Dana Stevens
    Proves that a movie about goodness is not the same thing as a good movie.
    • 47 Metascore
    • 30 Dana Stevens
    Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
    • 44 Metascore
    • 30 Dana Stevens
    The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.
    • 27 Metascore
    • 30 Dana Stevens
    Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
    • 32 Metascore
    • 30 Dana Stevens
    Plays every convention twice, once as parody and once by the book, but the movie, trying to be two things at once, fails at both.
    • 32 Metascore
    • 30 Dana Stevens
    Mr. Jones, who recently starred in "Zig-Zag," a similarly striving, overwrought picture, is a disciplined and likable performer, and he bravely perseveres in the face of narrative absurdity and rampant overacting.
    • 29 Metascore
    • 30 Dana Stevens
    The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
    • 56 Metascore
    • 30 Dana Stevens
    The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
    • 38 Metascore
    • 30 Dana Stevens
    Proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.
    • 23 Metascore
    • 30 Dana Stevens
    Having established its premise and set in motion an overloaded plot, the picture lurches this way and that, evoking more restlessness than laughter and more boredom than pathos.
    • 37 Metascore
    • 30 Dana Stevens
    The real question raised by The United States of Leland is not why, but how. How, that is, did so many talented actors find their way to this dreary and derivative study in suburban dysfunction?
    • 47 Metascore
    • 30 Dana Stevens
    Offers a view of pornography that is nonjudgmental, even celebratory, but at the same time its premise -- that Danielle must be rescued from the shame and degradation of her old job -- suggests a more traditional, disapproving point of view. Instead of addressing this contradiction, the movie is happy to wallow in it, which would be fine if it had any real pleasure to offer.
    • 33 Metascore
    • 30 Dana Stevens
    Its lack of subtlety is clearly a point of pride, and Mr. Hensleigh's flat-footed, hard-punching style has a blunt ferocity that makes "Kill Bill" look like "In the Bedroom."
    • 47 Metascore
    • 30 Dana Stevens
    This is a time-tested movie con, but rarely has it been deployed so contemptibly.
    • 27 Metascore
    • 30 Dana Stevens
    A howlingly silly, moderately diverting exercise in high, pointless style.
    • 40 Metascore
    • 30 Dana Stevens
    Lord Lloyd Webber's thorough acquaintance with the canon of 18th- and 19th-century classical music is not in doubt, but his attempt to force a marriage between that tradition and modern musical theater represents a victory of pseudo-populist grandiosity over taste - an act of cultural butchery akin to turning an aviary of graceful swans and brilliant peacocks into an order of Chicken McNuggets.
    • 29 Metascore
    • 30 Dana Stevens
    The problem, as it is so often in well-intentioned movies of this kind, is that rather than illuminate the enormity of Nazism, The Aryan Couple trades upon our knowledge of it for emotional impact.
    • tbd Metascore
    • 30 Dana Stevens
    Mr. Gianvito's approach cannot really be called critical, since criticism would require some cogent analysis of causes and events.
    • 55 Metascore
    • 30 Dana Stevens
    The end titles and the ones that introduce Veronica Guerin...are the most informative parts of the film, and also the most powerful. What comes between them is a flat-footed, overwrought crusader-against-evil melodrama, in which Ms. Blanchett's formidable gifts as an actress are reduced to a haircut and an accent.
    • 31 Metascore
    • 30 Dana Stevens
    It's not bad enough to make you curse, but you are likely to laugh when you should scream, and to roll your eyes when you are meant to laugh.
    • 53 Metascore
    • 30 Dana Stevens
    The human landscape of Palindromes is a vista of grotesqueness, dishonesty and creepiness. These are qualities Mr. Solondz has explored before, but this time he fails to make them interesting, partly because he lets himself and the audience off the hook.
    • 33 Metascore
    • 30 Dana Stevens
    The burden of the story, which is maudlin and entirely unbelievable, weighs down even the more credible performances.
    • 55 Metascore
    • 30 Dana Stevens
    Yes
    Yes is not just a movie, in other words, it's a poem. A bad poem. There is no denying Ms. Potter's skill at versifying - or for that matter, at composing clear, striking visual images - but her intricate, measured lines amount to doggerel, not art.
    • 48 Metascore
    • 30 Dana Stevens
    A hectic, uninspired pastiche of catchphrases and clichés, with very little wit, inspiration or originality to bring its frantically moving images to genuine life.
    • 35 Metascore
    • 30 Dana Stevens
    I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
    • 36 Metascore
    • 30 Dana Stevens
    A movie like this can survive an absurd premise but not incompetent execution. And Mr. LaBute, never much of an artist with the camera, proves almost comically inept as a horror-movie technician...It's neither haunting nor amusing; just boring.
    • 49 Metascore
    • 30 Dana Stevens
    Tron: Legacy is the kind of sensory-onslaught blockbuster that tends to put me to sleep, the way babies will nap to block out overwhelming stimuli. I confess I may have snoozed through one or two climactic battles only to be startled awake by an incoming neon Frisbee.
    • 67 Metascore
    • 30 Dana Stevens
    Where are we? What is this empty, science-fiction-like space in which luxury goods and women who resemble them are ceaselessly rotated in front of our eyes? Oh, it's Hollywood.
    • 39 Metascore
    • 30 Dana Stevens
    Sadly, these small bursts of beauty seemed so at odds with the movie's general crushing mediocrity that they were like quickly squelched protests against it.
    • 58 Metascore
    • 30 Dana Stevens
    This forced march through a chamber of personal and sociological horrors is difficult to endure but easy to forget.
    • 45 Metascore
    • 30 Dana Stevens
    For a series so steeped in supernatural mumbo-jumbo, Pirates of the Caribbean displays remarkably little sense of wonder.
    • 41 Metascore
    • 30 Dana Stevens
    This script - a collaboration between Hanks and Nia Vardalos, the writer and star of "My Big Fat Greek Wedding" - would need multiple punch-up sessions to attain mediocrity. Roberts and Hanks aren't just prevented from playing their A games; they're never even taken off the bench.
    • 35 Metascore
    • 30 Dana Stevens
    That What's Your Number? is a bad movie is the least of the reasons to walk out of it feeling awful. Competing for the top spot are these two: the criminal misuse of Faris; and the casual endorsement of courtship practices as arcane and sadistic as Chinese foot-binding.
    • 50 Metascore
    • 30 Dana Stevens
    What's disappointing about Anonymous is that it isn't dumb enough.
    • 54 Metascore
    • 30 Dana Stevens
    The Iron Lady is, to put it kindly, a shambles.
    • 52 Metascore
    • 30 Dana Stevens
    It's deeply committed to its own weird conceit, diminishing returns and all.
    • 57 Metascore
    • 30 Dana Stevens
    Snow White and the Huntsman, the first feature from British commercial director Rupert Sanders, has its work cut out for it if it wants to be a truly dull piece of junk - but it manages.
    • 59 Metascore
    • 30 Dana Stevens
    At its worst, This Is 40 feels like being condemned to watch two hours of someone else's home movies - overly long, self-indulgent, and bone-crushingly banal.
    • 35 Metascore
    • 30 Dana Stevens
    It would be easier to forgive Identity Thief its overfamiliar comic setups and shameless gag-recycling if the movie’s second half didn’t make such an abrupt about-face from soliciting our revulsion to begging for our pity.
    • 28 Metascore
    • 30 Dana Stevens
    The absence of a single noteworthy villain is perhaps this movie’s most salient flaw (along with the jumbled, barely coherent editing of a seemingly endless chase through a Moscow traffic jam).
    • 63 Metascore
    • 30 Dana Stevens
    Any irregularity in tone becomes a part of the movie’s intentionally rough, imperfect surface — a formal strategy I might find interesting if I could make head or tail of what the movie that’s using it is trying to say.
    • 58 Metascore
    • 30 Dana Stevens
    I didn’t like the movie at all — found it boring, unintentionally comical, at times even (a word I seldom use) pretentious — but I admire the rest of your work so much that I nonetheless feel the need to defend To the Wonder.
    • 25 Metascore
    • 30 Dana Stevens
    With its low-stakes chase scenes, obvious-from-the-get-go villains and nonsensical plotting, this feels more like a 96-minute-long episode of Scooby-Doo that's been laboriously translated into another language and then back into English.
    • 61 Metascore
    • 30 Dana Stevens
    Blomkamp proceeds to spend the last two-thirds of his film crashing spaceships into lawns, or staging high-tech fistfights between Elysium’s stolid hero and his even duller arch-nemesis. It’s a waste of a perfectly good dystopia.
    • 49 Metascore
    • 30 Dana Stevens
    His (Lee) Oldboy is relentlessly unpleasant and difficult to watch, without offering audiences much moral or aesthetic payoff for its hour and 40 minutes of graphic violence and abject degradation. Oldboy is both original and uncompromising, I’ll give it that—it just doesn’t happen to be any good.
    • 45 Metascore
    • 20 Dana Stevens
    The aesthetic of Full Frontal is as rough and grainy as the off-the-rack digital video in which much of it was shot.
    • 33 Metascore
    • 20 Dana Stevens
    The ending is meant to be clouded with ambiguity, but really it is unequivocally happy because it means the movie is over.
    • 22 Metascore
    • 20 Dana Stevens
    Vacillates between cutesy Disney-style anthropomorphism and "Born Free" exoticism.
    • 35 Metascore
    • 20 Dana Stevens
    In the end, Loser disappoints.
    • 48 Metascore
    • 20 Dana Stevens
    The movie version overflows with affection and good intention, but unwittingly turns a bauble of cheerful fakery into something that mostly feels phony.
    • 34 Metascore
    • 20 Dana Stevens
    The Glass House is hardly insane, just absurd, and the only damage it does is to itself.
    • 29 Metascore
    • 20 Dana Stevens
    This violent meatball western deserves to be forgotten quickly.
    • 30 Metascore
    • 20 Dana Stevens
    A listless and desultory affair.
    • 49 Metascore
    • 20 Dana Stevens
    Instead of suspense, there is confusion; instead of intrigue, a lot of inexplicable confrontation among characters whose significance is not so much enigmatic as obscure.
    • 27 Metascore
    • 20 Dana Stevens
    The director has fallen into the common first-timer's trap of biting off more than he can chew, stitching together an unwieldy, disorganized story out of subplots and flashbacks, without paying enough attention to the basic requirements of character and narrative.
    • 38 Metascore
    • 20 Dana Stevens
    "Ouch!" is also what you might exclaim as you pinch yourself to stay awake through the film's slow, labored contrivances.
    • 28 Metascore
    • 20 Dana Stevens
    Shot in smeary video, it sports the static, by-the-book camera work of a daytime soap-opera.
    • 44 Metascore
    • 20 Dana Stevens
    In a culture apparently defined by lap dancing, ersatz architectural sublimity and the virtual contact of cyberspace, how do we know what is real? The Center of the World, for example, is as phony as can be.
    • 34 Metascore
    • 20 Dana Stevens
    Brain-dead.
    • 44 Metascore
    • 20 Dana Stevens
    What should be a soufflé of gender-bending mischief is more like a bowl of oatmeal.
    • 22 Metascore
    • 20 Dana Stevens
    Does occasionally rise out of the sewer of its self-imposed idiocy, ascending in brief moments from utter witlessness to half-witlessness, mostly thanks to the loose comic byplay between Mr. Black and Mr. Zahn.
    • 60 Metascore
    • 20 Dana Stevens
    The delicate magic of, for instance, Hayao Miyazaki's "Spirited Away," which Disney released earlier this fall, is absent from this brainless, mechanical picture.
    • 38 Metascore
    • 20 Dana Stevens
    Confuses an empty and derivative stylistic bravura with formal cleverness, and a sterile, mechanistic sensationalism with emotional intensity.
    • 18 Metascore
    • 20 Dana Stevens
    There is no credible feeling here, no comedy, no eroticism.
    • 29 Metascore
    • 20 Dana Stevens
    Jettisoning any ambition toward thrillerhood, Domestic Disturbance becomes a plodding, obvious angry-dad melodrama, ambling toward the final, fatal showdown between parent and usurper.
    • 32 Metascore
    • 20 Dana Stevens
    Completed before the release of "American Beauty," this contrived, puffed up little picture nonetheless seems like a ripoff, perhaps because it mines the same tired assumptions and unexamined stereotypes about suburban family life.
    • 44 Metascore
    • 20 Dana Stevens
    This is bad cinema and bad history. Ms. Bravo is unstinting in her praise for the omelet and her admiration of the chef, but she refuses to admit that she's walking on eggshells.
    • 27 Metascore
    • 20 Dana Stevens
    The film's last half-hour -- or do I mean its final two weeks? -- is meant to keep the audience sniffling and sobbing uncontrollably, but the only thing likely to elicit tears is the sight of Mr. Reeves dressed in a white dinner jacket crooning "Time After Time."
    • 36 Metascore
    • 20 Dana Stevens
    Succumbs to its blockbuster ambitions and turns into a noisy, bloated mess.
    • 38 Metascore
    • 20 Dana Stevens
    Unfortunately, all of these supremely expressive vehicles come equipped with drivers, principally a pair of crash-test dummies played by Paul Walker and Tyrese, whose low-gear dialogue makes the whine of engines sound like the highest poetry.
    • 54 Metascore
    • 20 Dana Stevens
    The movie is bulky and inarticulate, leaving behind a trail of wreckage and incoherence.
    • 18 Metascore
    • 20 Dana Stevens
    Buried in the slow, talky, inanities that the two stars exchange are some potentially interesting ideas about female sexual self-assertion and male surrender, but neither the actors nor the filmmakers have any notion about how to explore them.
    • 55 Metascore
    • 20 Dana Stevens
    A patchwork of contrived naughtiness and forced pathos...The loose ends are neatly tied up, as they are when you seal a bag of garbage -- or if you prefer, rubbish.
    • 19 Metascore
    • 20 Dana Stevens
    A vulgar, uninspired lump of poisoned eye candy.
    • 27 Metascore
    • 20 Dana Stevens
    That Garfield speaks in the supercilious, world-weary drawl of Bill Murray is some small consolation, as are a few of the animal tricks.
    • 24 Metascore
    • 20 Dana Stevens
    This picture achieves a level of badness that is its own form of sublimity. You almost - please note that I said almost - have to see it to believe it.
    • 19 Metascore
    • 20 Dana Stevens
    The latest bit of damaged goods offered up in the Miramax clearance sale, Underclassman plays like the longest episode of "21 Jump Street" ever made.
    • 37 Metascore
    • 20 Dana Stevens
    It's not so much the nonsensical nature of the plot that rankles; it's the movie's wrongheaded approach to the material.
    • 57 Metascore
    • 20 Dana Stevens
    All the rest of Thor's 113 minutes felt so synthetic and overfamiliar that those brief flashes of spontaneity stood out like Morse code messages from another, better movie.
    • 39 Metascore
    • 20 Dana Stevens
    Even by the standards of the current run of mediocre comic-book movies, this one stands out for its egregious shoddiness.
    • 39 Metascore
    • 20 Dana Stevens
    To call The Change-Up misogynistic would be to shortchange the equal-opportunity disgust this anal-regressive film demonstrates toward men, babies, old people, and corporeal existence in general.
    • 40 Metascore
    • 20 Dana Stevens
    Even by the standard of a fourth-in-a-series summer blockbuster, Wolverine, the first X-Men movie directed by Gavin Hood ( Rendition), is remarkably lame.
    • 53 Metascore
    • 20 Dana Stevens
    The project as a whole conveys a drab sense of bureaucratic necessity, a "let's get this over with" wheeziness.