For 1,141 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 1.6 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Atanarjuat: The Fast Runner
Lowest review score: 0 The Nutcracker
Score distribution:
1141 movie reviews
    • 73 Metascore
    • 40 Dana Stevens
    With so much going for it, how could the movie be such a dud?
    • 73 Metascore
    • 60 Dana Stevens
    The feel-good movie of the year.
    • 73 Metascore
    • 50 Dana Stevens
    Its fidelity to its characters’ view of the world -- although they are presumably college graduates, they seem never to have read a book or expressed an opinion -- is more a liability than a virtue. The Puffy Chair is as modest as their ambitions and as narrow as their curiosity about the world beyond themselves.
    • 72 Metascore
    • 60 Dana Stevens
    I was onboard with the gentle charm of Safety Not Guaranteed until these last few scenes, when the genuine trauma suffered by these characters - especially Kenneth, whose paranoia and isolationism seem like symptoms of real mental illness - gets glossed over in an unconvincingly Spielbergian happy ending.
    • 72 Metascore
    • 50 Dana Stevens
    It's just a movie with no particular reason for existing, a flashy, trifling throwaway whose surface cleverness masks a self-infatuated credulity.
    • 72 Metascore
    • 60 Dana Stevens
    Scene by scene, 50/50 can be both amusing and moving, with the tightly wound Gordon-Levitt and the boundaryless Rogen forming an oddly complementary pair. But as a whole the movie never quite coheres, seeming to skitter away at the last minute from both full-body laughter and full-body sobs.
    • 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.
    • 72 Metascore
    • 60 Dana Stevens
    The movie can -- indeed, should -- be intellectually rejected, but you can't quite banish it from your mind.
    • 72 Metascore
    • 50 Dana Stevens
    Michael Fassbender's portrayal of Brandon, the rootless Manhattan sex addict in Steve McQueen's Shame, may lay claim to this year's title of most outstanding performance in a mediocre movie.
    • 72 Metascore
    • 50 Dana Stevens
    There is no way a feature-length movie could do justice to such bounty, and Walk the Line settles for the minimum.
    • 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.
    • 70 Metascore
    • 50 Dana Stevens
    The most memorable element of The Winter Soldier, besides Redford, is probably Scarlett Johansson, whose dryly funny Natasha at times comes perilously close to being … a well-developed female character?
    • 69 Metascore
    • 60 Dana Stevens
    The one-liners are clever enough and the physical comedy and pop-culture goofing sufficiently dumb and broad to make Undercover Brother, a reasonably pleasant experience.
    • 69 Metascore
    • 50 Dana Stevens
    The tedium of Into the Woods’ second half has less to do with the downbeat subject matter than Marshall’s clumsy direction.
    • 69 Metascore
    • 50 Dana Stevens
    For all the film’s best intentions — and a finely tuned performance from the ever-better Woodley — for me The Fault in Our Stars never entirely found its way out of Sparks territory.
    • 69 Metascore
    • 60 Dana Stevens
    If only the results weren't so respectably dull.
    • 68 Metascore
    • 60 Dana Stevens
    Even in the film's weaker stretches, the fierce presence of Tilda Swinton made it impossible to tear my eyes away.
    • 68 Metascore
    • 50 Dana Stevens
    After a while the movie spins its wheels, unable to find much emotional traction in the icy bleakness.
    • 68 Metascore
    • 40 Dana Stevens
    The Hateful Eight is bold, gorgeous, verbally clever, morally repellent, and, in some way I am still struggling to put my finger on, possibly somehow evil. Any movie that inspires mixed feelings that intense can, I suppose, be said to have done its work on the viewer. But I’m not sure the work The Hateful Eight performed on me was what the filmmaker intended or that it’s an operation I would consent to again.
    • 68 Metascore
    • 50 Dana Stevens
    This disdain for women is not incidental to the film; it is integral to the fantasy Mr. Brewer is selling, which is that pimping is not as hard as it looks.
    • 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.
    • 68 Metascore
    • 60 Dana Stevens
    Tight, sober and strangely comical.
    • 68 Metascore
    • 60 Dana Stevens
    At a certain point, Mr. Carruth's fondness for complexity and indirection crosses the line between ambiguity and opacity, but I hasten to add that my bafflement is colored by admiration.
    • 67 Metascore
    • 60 Dana Stevens
    Smart, sincere and sloppy film.
    • 67 Metascore
    • 60 Dana Stevens
    There is a lot of violence, but not much action; a plot involving vengeance, jealousy and double-crossing, but not a great deal of suspense.
    • 67 Metascore
    • 60 Dana Stevens
    The narrative scheme, the brooding period atmosphere, the understated score (by David Byrne) and the precision of the acting also make the story seem more interesting than it is.
    • 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.
    • 67 Metascore
    • 40 Dana Stevens
    Mr. Costner's relentless, root-canal humorlessness turns what might have been an enjoyable B-picture throwback into a ponderous drag.
    • 67 Metascore
    • 50 Dana Stevens
    Despite across-the-board bravura performances (especially by Philip Seymour Hoffman and Paul Giamatti as dueling campaign managers), The Ides of March somehow remains static and lifeless, like a civics-class diorama.
    • 67 Metascore
    • 60 Dana Stevens
    Though at times Rosewater is clearly the work of a first-timer still finding his voice, Stewart is indisputably a real filmmaker.

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