For 1,113 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: 62
Highest review score: 100 Fruitvale Station
Lowest review score: 0 State Property
Score distribution:
1,113 movie reviews
    • 86 Metascore
    • 60 Dana Stevens
    Los Angeles Plays Itself, in spite of its length, is rarely tedious, an achievement it owes mainly to the movies it prodigiously excerpts.
    • 86 Metascore
    • 50 Dana Stevens
    It's hard not to admire Zeitlin's ambitious vision, his do-it-yourself aesthetic, and the commitment of his cast and crew - a kind of utopian collective whose jobs often overlapped, as the local, nonprofessional actors collaborated on set-building and other technical tasks. But that doesn't mean the result of their labor is exactly what you'd call a "good movie."
    • 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?
    • 84 Metascore
    • 50 Dana Stevens
    It's such a disappointment that The Descendants isn't a better movie than it is. In this soap opera disguised as a comedy, Payne, who was always a master at balancing sharp satire with an essential humanism, has traded his tart lemon center for a squishy marshmallow one.
    • 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.
    • 82 Metascore
    • 50 Dana Stevens
    A peripatetic comedy about two comedians on a jaunt around the north of England, alternately amuses, bores, and annoys, just like its two hilariously intolerable protagonists.
    • 81 Metascore
    • 50 Dana Stevens
    Django Unchained provoked a lot of contradictory feelings in me, including some that don't usually come in pairs: Hilarity and boredom. Aesthetic delight and physical nausea. Fist-pumping righteousness and vague moral unease.
    • 81 Metascore
    • 60 Dana Stevens
    Skyfall leaves you wondering whether this incarnation of the character has anywhere left to go. It's the portrait of a spy at the end of his rope by an actor who seems close to his.
    • 79 Metascore
    • 60 Dana Stevens
    A most curious movie, one with nearly all the elements of a classic crime-family saga and yet somehow lacking the moral complexity and emotional heft of the films to which it pays fastidious aesthetic homage: the New York–set urban thrillers of Sidney Lumet (Serpico, Prince of the City) and Coppola’s Godfather series.
    • 79 Metascore
    • 60 Dana Stevens
    Its subject matter is intrinsically upsetting.
    • 79 Metascore
    • 50 Dana Stevens
    The movie's energy peters out in a series of book-club conversations about divine will, the power of storytelling, and the resilience of the human spirit. The ending's pious dullness is enough to make you wish you were back on that lifeboat, where the most pressing questions weren't spiritual but gastronomic: What's on the menu for lunch, and what can I do to make sure it isn't me?
    • 79 Metascore
    • 50 Dana Stevens
    Portman toils slavishly to realize Aronofsky's mad vision. It isn't her fault that, despite Black Swan's visual splendor and bursts of grand guignol excess, this emotionally inert movie never does grow wings.
    • 78 Metascore
    • 50 Dana Stevens
    Jasmine attains the paradoxical state of being fascinatingly tiresome. The same pair of words might be used to describe Blue Jasmine, which, whether you like it or not, surely counts as one of Allen’s more unexpected films of the past decade
    • 78 Metascore
    • 40 Dana Stevens
    At over two hours and forty minutes long, with repeated scenes of bone-crunching violence and a maddeningly unrelenting percussive score by Hans Zimmer, The Dark Knight Rises is something of an ordeal to sit through.
    • 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.
    • 76 Metascore
    • 40 Dana Stevens
    Martha Marcy May Marlene took a good hour to start really getting on my nerves. Up till then, I kept cutting this maddening little psychological thriller break after break, because it has the outer form of a promising debut.
    • 76 Metascore
    • 60 Dana Stevens
    Except perhaps for Lux, who, like The Virgin Suicides itself, is a hothouse flower perishing for want of sunshine and fresh air.
    • 76 Metascore
    • 40 Dana Stevens
    Nightcrawler, like its entrepreneurial-to-a-fault protagonist, is ambitious but ultimately hollow, eager to dazzle and shock us but reluctant to let us inside.
    • 75 Metascore
    • 60 Dana Stevens
    Leconte's visual instincts are so impressive that they outstrip his story, leaving us flushed and dazzled, but also, as after a long night of champagne and baccarat (to say nothing of other irresponsible pleasures), hungry, tired, and homesick.
    • 75 Metascore
    • 60 Dana Stevens
    Immerses you in violence and agony, but it may leave you with a curious feeling of detachment.
    • 75 Metascore
    • 60 Dana Stevens
    A hallucinatory tour de force of color, perspective and scale, virtually encapsulates the history of Japanese animation.
    • 75 Metascore
    • 40 Dana Stevens
    Epic in size but claustrophobically narrow in scope, The Wolf of Wall Street maintains a near-exclusive focus on the greed and self-indulgence of its proudly rapacious hero.
    • 75 Metascore
    • 50 Dana Stevens
    There are some scenes that display impressive technical cunning, and others that show an astute regard for the emotional capacities of his able cast, but On the Run amounts to a sullen display of skill in a dubious cause.
    • 74 Metascore
    • 40 Dana Stevens
    An autopsy for The Town would list multiple causes of death.
    • 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.
    • 74 Metascore
    • 60 Dana Stevens
    Especially when Baymax is onscreen doing his adorable-puffy-robot thing, Big Hero 6 qualifies as a better-than-average kids’ movie with enough cross-generational appeal to make it a fine choice for a family weekend matinee. But I couldn’t shake the feeling that this film was designed to function as a starter kit for future Marvel aficionados.
    • 74 Metascore
    • 60 Dana Stevens
    The main problem with Such a Long Journey is its storytelling. There is simply too much happening.
    • 73 Metascore
    • 60 Dana Stevens
    Somehow, in spite of the stunning vistas and some witty and affecting moments, the story seems to unfold at a distance; the human drama is diminished by the setting rather than amplified by it.
    • 73 Metascore
    • 50 Dana Stevens
    Throughout The Imitation Game, there’s a sense the filmmaker is trying to shield viewers from the story’s most difficult parts — whether it’s the horrors of war, the technical complexity of the Enigma code and its solution, or the bleakness of Alan Turing’s final fate. I wish Tyldum had trusted the audience enough to let us in on the worst. It would have made his movie so much better.
    • 73 Metascore
    • 60 Dana Stevens
    Mr. Belvaux's sensitive, generous way with actors suggests that, with more discipline and less gimmickry, he might have made a single masterwork, and After the Life provides the best support for this assessment.

Top Trailers