For 22 reviews, this critic has graded:
  • 45% higher than the average critic
  • 9% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 10.8 points lower than other critics. (0-100 point scale)

Dana Stevens' Scores

Average review score: 54
Highest review score: 90 Curb Your Enthusiasm: Season 5
Lowest review score: 10 Emily's Reasons Why Not: Season 1
Score distribution:
  1. Positive: 9 out of 22
  2. Negative: 5 out of 22
22 tv reviews
    • 91 Metascore
    • 90 Dana Stevens
    A return to classic form.
    • 88 Metascore
    • 90 Dana Stevens
    Unexpectedly sweet-spirited.
    • 87 Metascore
    • 40 Dana Stevens
    Abrams and his co-creator Damon Lindelof ("Crossing Jordan") do a terrific job of piling on the plot twists, but they neglect to provide a believably textured world, or any time for the characters to interact between crises. As a result, Lost is at once heart-stopping and strangely dull.
    • 81 Metascore
    • 90 Dana Stevens
    Even if Extras never accedes to The Office's heights of comic sublimity, it's still a rare find on American TV: a series that combines the ascendant genre of cringe comedy with Gervais' rich comic gifts, and his trademark humanism.
    • 80 Metascore
    • 40 Dana Stevens
    There's something lazy about this show's refusal to choose a target. It's easy to feel feminist when you're deploring the plight of '50s-style birds in a gilded cage. But why do we need to invoke this simplified formula to be interested in exploring women's lives?
    • 70 Metascore
    • 70 Dana Stevens
    Weeds is still trying a little too hard—trying, by turns, to be edgy and HBO-ish or campy and ABC-ish. But if it hasn't yet quite achieved the self-confident swagger of HBO flagships like The Wire or The Sopranos, it's certainly a lot more fun to watch than Desperate Housewives.
    • 50 Metascore
    • 40 Dana Stevens
    Reunion doesn't seem to get how important character is to carrying a show.
    • 69 Metascore
    • 70 Dana Stevens
    Provocative, hammy, absurd, and irresistible—so far. ... [But] Boston Legal would do well to limit the narrative hocus-pocus and concentrate on its strength—the chemistry between the two fine main actors.
    • 36 Metascore
    • 30 Dana Stevens
    It zips through 60-plus years of Wojtyla's life at a pace that manages to be both breakneck and boring.
    • 65 Metascore
    • 70 Dana Stevens
    By its very nature, the position Colbert occupies—the butt of his own show's joke—seems more difficult to sustain than Stewart's role as the eternal observer.
    • 64 Metascore
    • 40 Dana Stevens
    The show's focus remains frustratingly narrow.
    • 63 Metascore
    • 60 Dana Stevens
    Celebrities interviewing celebrities is a promising concept, in that it upsets the power balance of the typical suck-up interview. But the downside is that once people get past a certain level of fame, they seem to lose the internal monitor that reminds them that not everything they do and say is worth recording.
    • 55 Metascore
    • 20 Dana Stevens
    Memo to network execs planning an all-forensics programming slate for fall: Watching attractive people poke at skull fragments is not inherently interesting.
    • 62 Metascore
    • 30 Dana Stevens
    Will need defibrillator paddles applied to its thorax, stat, if it hopes to survive the season.
    • 62 Metascore
    • 70 Dana Stevens
    Dancing With the Stars is an improbable, goofy delight, more fun to watch than the bombastic American Idol for at least two reasons. The first: Unlike Idol wannabes, contestants on DWTS know they're amateurs. ... The second reason DWTS makes for better watching than American Idol is purely kinetic: Bad dancing is simply more fun to watch than bad singing is to listen to.
    • 61 Metascore
    • 60 Dana Stevens
    Sure, the re-enactment technique is cheesy by its very nature, but at the heart of this show is the ancient art of storytelling. The verbal accounts of the survivors are so vibrant, their evocation of extreme experience so precise, that the viewer huddles before the TV like a child listening to ghost stories around a campfire, undistracted even by the indignity of commercial interruptions.
    • 47 Metascore
    • 50 Dana Stevens
    Related has some strengths, particularly the understated performance of Kiele Sanchez.
    • 56 Metascore
    • 70 Dana Stevens
    It's less a vision of what a real female presidency might be like than an extended allegory about gender politics in the workplace. And that's not necessarily a bad thing.
    • 50 Metascore
    • 60 Dana Stevens
    It's a silly, sweet-natured waste of time, and (unlike the tortured caterwauling of the American Idol contestants) it's utterly irresistible.
    • 48 Metascore
    • 10 Dana Stevens
    There's so much not to like about Emily's Reasons Why Not.
    • 40 Metascore
    • 70 Dana Stevens
    It's neither wildly innovative nor sidesplittingly funny, but it has a warm, cozy group vibe and no flagrant casting mishaps.
    • 31 Metascore
    • 20 Dana Stevens
    Despite an abundance of painfully suggestive one-liners, Hot Properties feels tepid and static. What's worse for a show designed to appeal to female audiences, it feels misogynistic.