For 60 reviews, this critic has graded:
  • 38% higher than the average critic
  • 1% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 2.3 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 All Is Lost
Lowest review score: 0 I'm Still Here
Score distribution:
  1. Positive: 29 out of 60
  2. Negative: 6 out of 60
60 movie reviews
    • 65 Metascore
    • 60 Dana Stevens
    There's no buildup, no narrative arc, just one scene of comically debauched partying after another.
    • 74 Metascore
    • 60 Dana Stevens
    Mining the incest prohibition for laughs in what's essentially a light romantic comedy is a bold move, and for the first two-thirds of the movie, it works surprisingly well. But as long as the Duplasses are willing to go there, I can't help but wish they'd gone a little further.
    • 55 Metascore
    • 60 Dana Stevens
    Careening from bathos to bromance to naked sexytime, the movie is like a mashup of three or four different movies, at least two of them fairly unpleasant. And yet Love and Other Drugs is so sincere and unjaded about its mystifying purpose that it keeps our gaze fixed on the screen for the full two hours.
    • 46 Metascore
    • 60 Dana Stevens
    Brooks has given us the rare contemporary rom-com that's by turns (if intermittently) thoughtful and funny, and that doesn't feel focus-grouped, cynical, misogynist, or mean. It seems ungenerous not to cut such a generous movie a break.
    • 52 Metascore
    • 60 Dana Stevens
    By the time the great vampire showdown finally got started, I was good and done with Breaking Dawn, Part 2. But the big action scene is so campily over the top - with one twist so unforeseeable - that it sent me out on a burst of grudging goodwill.
    • 72 Metascore
    • 60 Dana Stevens
    Super 8 is at its best when it dwells in this secret childhood empire, and at its worst when it juices up its essentially simple story with increasingly senseless action set pieces.
    • 51 Metascore
    • 50 Dana Stevens
    There's just not quite enough to the movie: not enough jokes, not enough obstacles, not enough sex.
    • 43 Metascore
    • 50 Dana Stevens
    Though the movie never overcomes the miscasting of its lead couple, The Romantics does show a surprisingly fine authorial touch.
    • 67 Metascore
    • 50 Dana Stevens
    Though Carano isn't without a certain glowering charisma, her flat line readings and apparent discomfort with dialogue-heavy exchanges make her seem like a refugee from a different, schlockier movie, the kind of low-budget, straight-to-video MMA rock-'em-sock-'em that might pop up on late-night basic cable and charm you with its rough-hewn amateurism and animal high spirits. As Haywire's long-seeming 92 minutes limped by, I found myself wishing I was watching that movie instead.
    • 71 Metascore
    • 50 Dana Stevens
    Fincher is a master of mood and atmosphere, but this chilly, efficient movie never transcends the shallowness of its source material.
    • 57 Metascore
    • 50 Dana Stevens
    Albert Nobbs is the rare double drag king bill you could plausibly take your grandmother to. It's genteel, well-crafted, mostly sexless and frequently dull - a movie that, like its title character, never quite dares to let itself discover what it really wants to be.
    • 65 Metascore
    • 50 Dana Stevens
    If these developments sound slight and meandering, so is the movie. Everything Must Go has a spacious, under-inhabited feeling.
    • 62 Metascore
    • 50 Dana Stevens
    Unfortunately, that sharp-eyed domestic comedy is dwarfed by the far less well-written supervillain crime plot that surrounds it.
    • 68 Metascore
    • 50 Dana Stevens
    The film spends too much time wringing its hands over the all-too-evident fact that journalism is in crisis, when it could be documenting that crisis from the inside.
    • 62 Metascore
    • 50 Dana Stevens
    Where "Forgetting Sarah Marshall" frolicked on the beach, this amiable but underachieving comedy just sort of blobs on the couch.
    • 84 Metascore
    • 50 Dana Stevens
    Looper felt to me like a maddening near-miss: It posits an impossible but fascinating-to-imagine relationship...and then throws away nearly all the dramatic potential that relationship offers. If someone remakes Looper as the movie it could have been in, say, 30 years, will someone from the future please FedEx it back to me?
    • 55 Metascore
    • 50 Dana Stevens
    If this version of Superman is to have a future — as Warner Brothers seems convinced he will, having already green-lit the sequel — I hope Snyder will dial back both the casualty count and the Krypton mythmaking and instead focus on establishing a fictional Earth that’s rich enough to be worth saving.
    • 49 Metascore
    • 50 Dana Stevens
    The movie's curious capacity for self-erasure makes it a tough one to write about; less than 24 hours later, I recall it with all the clarity of something I half-watched on a plane with a hangover in 1996.
    • 82 Metascore
    • 50 Dana Stevens
    Frances Ha feels like a collaboration between two people in love, and not always in the best way. There are too many scenes in a row that make the same point.
    • 76 Metascore
    • 50 Dana Stevens
    For all its tasteful spareness and eerie, diaphanous mood, Blue Caprice feels, in the end, insubstantial. It’s a true-crime story that illustrates little about the crime in question and a character study whose characters, even when haunting, remain stubbornly opaque.
    • 46 Metascore
    • 40 Dana Stevens
    The character of Roy Miller is so quintessentially Cruise-ian that he skirts the edges of self-conscious parody.
    • 47 Metascore
    • 40 Dana Stevens
    Like Cooper's lady-killing character, Face, The A-Team is utterly convinced of its own lovability even as it strains our credibility, abuses our patience, and punishes our eardrums.
    • 51 Metascore
    • 40 Dana Stevens
    The most offensive bodily fluid being hurled around in Due Date are the tears that Phillips dishonestly tries to wrest from the audience's eyes.
    • 37 Metascore
    • 40 Dana Stevens
    Natalie Portman may have the black swan and the white swan down, but she's still working on the gray.
    • 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.
    • 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.
    • 27 Metascore
    • 10 Dana Stevens
    And it's true that this movie's absolute tone-deafness, its complete disconnection from our current economic and geopolitical reality, by moments achieves a perverse Warholian profundity.
    • 48 Metascore
    • 0 Dana Stevens
    The worst thing about I'm Still Here is the fact that it exists.
    • 18 Metascore
    • 0 Dana Stevens
    This non-balletic adaptation by the Russian director Andrei Konchalovsky is something gnarled and stunted and wrong, something that should never have been allowed to see the light of day. How's that for a holiday-ad pullquote?