For 1,069 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 1.9 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Sweet Smell of Success (re-release)
Lowest review score: 0 Just Go with It
Score distribution:
1,069 movie reviews
    • 100 Metascore
    • 100 Dana Stevens
    Boyhood reimagines the coming-of-age film as family album, longitudinal character study, and collaborative artistic experiment — a mad risk that paid off in a movie that’s as transcendent as it is ordinary, just like life.
    • 100 Metascore
    • 100 Dana Stevens
    Its pleasures are almost obscenely abundant.
    • 98 Metascore
    • 90 Dana Stevens
    Metropolis retains its power to overwhelm, trouble and move because it is connected to the deep anxieties of modern life as if by a high-voltage cable.
    • 97 Metascore
    • 90 Dana Stevens
    It’s the unhappiest happy ending I’ve ever seen, a moment that makes you weep not just for this one man who found his way back to freedom, but for all those men and women who never knew it in the first place.
    • 95 Metascore
    • 90 Dana Stevens
    It's only at the very beginning and the very end that Zero Dark Thirty functions (brilliantly) as a ripped-from-the-headlines political thriller. Much of the rest of the time, it's a workplace drama about a woman so good at her job that most of her colleagues think she's crazy.
    • 95 Metascore
    • 100 Dana Stevens
    Asghar Farhadi's A Separation serves as a quiet reminder of how good it's possible for movies to be.
    • 94 Metascore
    • 100 Dana Stevens
    Watching E.T now, in an era dominated by cold, loud special-effects-laden extravaganzas, one is struck less by its lavish grandeur than by its intimacy and precision.
    • 92 Metascore
    • 90 Dana Stevens
    Despite its atmosphere of failure and melancholy, Inside Llewyn Davis is ultimately a dark valentine to both its hero and his milieu.
    • 92 Metascore
    • 100 Dana Stevens
    In exchange for three hours of your time, Yi Yi will give you more life.
    • 92 Metascore
    • 90 Dana Stevens
    This document of youthful confusion has not aged one minute. If anything, its detached, discursive and sympathetic observation of the earnest foolishness of post-baccalaureate, pre-1968 Parisians is more acute, and more prophetic, than ever.
    • 92 Metascore
    • 90 Dana Stevens
    A near-perfect piece of popular entertainment, a children's classic.
    • 91 Metascore
    • 100 Dana Stevens
    To skip Moolaade would be to miss an opportunity to experience the embracing, affirming, world-changing potential of humanist cinema at its finest.
    • 91 Metascore
    • 100 Dana Stevens
    Not merely an interesting document from a far-off place; it is a masterpiece.
    • 91 Metascore
    • 90 Dana Stevens
    May be the oddest movie of the year, by turns sweet and sinister, insouciant and grotesque, invitingly funny and forbiddingly dark. It may also be one of the best, a tour de force of ink-washed, crosshatched mischief and unlikely sublimity.
    • 91 Metascore
    • 90 Dana Stevens
    Offers the kind of experience that makes you glad movies exist.
    • 91 Metascore
    • 100 Dana Stevens
    Qualifies as one of my favorite movies of all time. This 1932 masterpiece, now digitally restored with retranslated subtitles and a newly recorded score, is a silent film that doesn't feel silent at all.
    • 90 Metascore
    • 90 Dana Stevens
    In spite of its limited perspective on Vietnam, its churning, term-paperish exploration of Conrad and the near incoherence of its ending, (it) is a great movie. It grows richer and stranger with each viewing, and the restoration of scenes left in the cutting room two decades ago has only added to its sublimity.
    • 90 Metascore
    • 90 Dana Stevens
    Her
    It’s a wistful portrait of our current love affair with technology in all its promise and disappointment, a post-human "Annie Hall."
    • 90 Metascore
    • 100 Dana Stevens
    What Mr. Crowe has done is nonetheless remarkable. He has made a movie about sex, drugs and rock 'n' roll that you would be happy to take your mother to see.
    • 89 Metascore
    • 90 Dana Stevens
    Ida
    There’s an urgency to Ida’s simple, elemental story that makes it seem timely, or maybe just timeless.
    • 88 Metascore
    • 100 Dana Stevens
    It's surely the best depiction of teenage eccentricity since "Rushmore," and its incisive satire of the boredom and conformity that rule our thrill-seeking, individualistic land, and also its question-mark ending, reminded me of "The Graduate."
    • 88 Metascore
    • 90 Dana Stevens
    A fascinating and fine-grained reconstruction of that period in its subject's life, a time when he (Capote) pursued literary glory and flirted with moral ruin.
    • 88 Metascore
    • 90 Dana Stevens
    Like its hero, who is brave without a trace of bravado, Overlord is unusually quiet and thoughtful. The scale and ambition of combat movies has usually been epic, but this one is disarmingly lyrical and subjective.
    • 88 Metascore
    • 90 Dana Stevens
    Not for the faint of heart, though it has no scenes of overt violence, and barely a tear is shed. It is also strangely thrilling, not only because of the quiet assurance of Mr. Kore-eda's direction, but also because of his alert, humane sense of sympathy.
    • 87 Metascore
    • 90 Dana Stevens
    The Spirit of the Beehive, like "Cinema Paradiso," also takes place at the particular intersection of reality and fantasy defined by youthful moviegoing.
    • 87 Metascore
    • 100 Dana Stevens
    Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
    • 87 Metascore
    • 90 Dana Stevens
    The animation is a marvel - all the more so because the most demanding sequences seem almost casually tossed off. The world of Wallace and Gromit is one of the few genuinely eccentric places left in the movies, a place where lumpy, doughy characters achieve a peculiar dignity in spite of their grotesque features and the ridiculousness of their circumstances.
    • 87 Metascore
    • 100 Dana Stevens
    The way that Redford’s character — who for all his namelessness and near-wordlessness emerges as a distinct character, a calm, pragmatic, curious man with a dry sense of humor — struggles with that ultimate question is the beating heart of All is Lost, which somewhere in its second hour goes from being a good movie to being a great one.
    • 87 Metascore
    • 90 Dana Stevens
    It represents something stranger and, to those of us with only a secondhand or thirdhand knowledge of that history, more disturbing: a survivor's conviction that there were aspects of the experience itself that can only be described as beautiful.
    • 87 Metascore
    • 90 Dana Stevens
    Certainly one of the strangest and most interesting movies of the year, and I suspect that in years to come a number of other strange and interesting movies will show traces of its influence.