For 1,095 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 2.3 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 All Is Lost
Lowest review score: 0 I'm Still Here
Score distribution:
1,095 movie reviews
    • 73 Metascore
    • 100 Dana Stevens
    Like a good novel, Les Destinées is many things: a family chronicle, a series of psychological portraits, a sumptuous re-creation of the past. But the film is also a pointed tribute to the French tradition of quality and distinction, a tradition in which it clearly includes itself.
    • 84 Metascore
    • 100 Dana Stevens
    Astonishingly well acted film, so much so that it seems unfair to single out any of the performances. Mr. Lawrence's camera sense is as sure and unobtrusive as his feel for acting. The movie just seems to happen, to grow out of the ground like a thorny plant, revealing the intricate intelligence of its design only in hindsight.
    • 100 Metascore
    • 100 Dana Stevens
    Its pleasures are almost obscenely abundant.
    • 92 Metascore
    • 100 Dana Stevens
    In exchange for three hours of your time, Yi Yi will give you more life.
    • 78 Metascore
    • 100 Dana Stevens
    Like finding that perfect stage of moderate drunkenness in which the senses are sharpened rather than dulled, and time passes with leisurely grace.
    • 91 Metascore
    • 100 Dana Stevens
    Not merely an interesting document from a far-off place; it is a masterpiece.
    • 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.
    • 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.
    • 83 Metascore
    • 100 Dana Stevens
    I realize that the fear of contracting writer's block from a fictional character is crazy, but in the brilliantly scrambled, self-consuming world of Adaptation it has a certain plausibility.
    • 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."
    • 84 Metascore
    • 100 Dana Stevens
    It rediscovers the aching, desiring humanity in a genre -- and a period-- too often subjected to easy parody or ironic appropriation. In a word, it's divine.
    • 81 Metascore
    • 100 Dana Stevens
    Mr. Guest and Mr. Levy's jokes are sometimes so subtle as to seem imperceptible, until you realize that they are everywhere, from the broadest gestures to the tiniest details of dress and décor.
    • 84 Metascore
    • 100 Dana Stevens
    Mystic River is the rare American movie that aspires to -- and achieves -- the full weight and darkness of tragedy.
    • 81 Metascore
    • 100 Dana Stevens
    Stupendously entertaining.
    • 87 Metascore
    • 100 Dana Stevens
    Full of brilliantly executed coups de théâtre, showing the director's natural flair for spectacle.
    • 67 Metascore
    • 100 Dana Stevens
    Surely the best movie yet made from Mr. Irving's fiction. It may even belong in the rarefied company of movies that are better than the books on which they are based.
    • 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.
    • 86 Metascore
    • 100 Dana Stevens
    With its careful, unassuming naturalism, its visual thrift and its emotional directness, Million Dollar Baby feels at once contemporary and classical, a work of utter mastery that at the same time has nothing in particular to prove.
    • 80 Metascore
    • 100 Dana Stevens
    Neither the neighborhood intimacy of "Mean Streets" nor the grandeur of the "Godfather" movies is imaginable without Visconti's example. Its richness, though, is inexhaustible, and well served by the spotless new 35-millimeter print being shown at Film Forum.
    • 81 Metascore
    • 100 Dana Stevens
    The rapport between Ms. Watts and Mr. Serkis is extraordinary, even though it is mediated by fur, latex, optical illusions and complicated effects. Mr. Serkis, who also played Gollum in the "Lord of the Rings" movies, is redefining screen acting for the digital age, while Ms. Watts incarnates the glamour and emotional directness of classical Hollywood.
    • 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.
    • 86 Metascore
    • 100 Dana Stevens
    The movie we've been waiting for all year: a comedy that doesn't take cheap shots, a drama that doesn't manipulate, a movie of ideas that doesn't preach. It's a rich, layered, juicy film, with quiet revelations punctuated by big laughs.
    • 86 Metascore
    • 100 Dana Stevens
    If you're interested in the history of the human race-if you're a member of the human race-you owe it to yourself to see this movie.
    • 75 Metascore
    • 100 Dana Stevens
    See it because it's f---ing hilarious.
    • 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.
    • 85 Metascore
    • 100 Dana Stevens
    Fruitvale Station’s wrenching power lies in the specificity of its storytelling and the ordinary human warmth of the world it conjures. You walk out of it, not shaking your head over an abstract social problem, but grieving the senseless death of one flawed, complex, tragically young man.
    • 81 Metascore
    • 100 Dana Stevens
    The World’s End not only makes a more than worthy conclusion to the Cornetto trilogy — it stands on its own as one of the sharpest, saddest and wisest comedies of the year.
    • 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.
    • 90 Metascore
    • 100 Dana Stevens
    Ida
    There’s an urgency to Ida’s simple, elemental story that makes it seem timely, or maybe just timeless.
    • 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.
    • 87 Metascore
    • 100 Dana Stevens
    The Babadook creates tension not with jump scares or chase sequences but with judicious editing and slow-burn suspense—that is, until it descends into a final half-hour of harrowing emotional and physical intensity, an extended climax that made me gasp aloud, hide my eyes, and weep at least twice.
    • 87 Metascore
    • 100 Dana Stevens
    As the couple’s widening rift exposes the gender and class assumptions that underlie their marriage... Force Majeure morphs into a biting critique of modern masculinity, of traditional parenting roles, and possibly of the institution of marriage itself.
    • 83 Metascore
    • 100 Dana Stevens
    A clever, vividly imagined, consistently funny, eye-poppingly pretty and oddly profound movie … about Legos.
    • 94 Metascore
    • 100 Dana Stevens
    Mr. Turner does resemble "Topsy-Turvy" in its meticulous yet vibrant recreation of the past and its ever-expanding thematic amplitude. This is a movie not only about one particular artist, but about art as both a field of human endeavor and an object of shifting cultural and economic value.
    • 71 Metascore
    • 90 Dana Stevens
    The visual beauty of the film, rather than distracting from the troubling story, makes it more troubling still.
    • 73 Metascore
    • 90 Dana Stevens
    You come away from his film overwhelmed, hopeful and, perhaps paradoxically, illuminated.
    • 79 Metascore
    • 90 Dana Stevens
    Is, in the end, a boisterous love song -- a funny valentine to London, to chaos and to human decency.
    • 69 Metascore
    • 90 Dana Stevens
    The raw intimacy of some of the scenes -- whether they take place at a diner, in the death house or in the bedroom -- is breathtaking.
    • 74 Metascore
    • 90 Dana Stevens
    An almost unbearably powerful documentary.
    • 79 Metascore
    • 90 Dana Stevens
    Documenting war is a small, partial but indispensable step toward its eventual eradication. Mr. Frei's quiet, engrossing film is a sad and stirring testimony to this vision and to the quiet, self-effacing heroism with which Mr. Nachtwey has pursued it.
    • 77 Metascore
    • 90 Dana Stevens
    A refreshing movie that's so good natured, so confident of its ability to provoke not queasy awe or numb exhaustion but pure delight.
    • 62 Metascore
    • 90 Dana Stevens
    Every shot seems measured for maximum effect, and when the pace suddenly quickens in a late action sequence on a deserted subway train, it results in a moment of pure Hitchcockian panic that reverberates like thunder in the fretful, melancholy air.
    • 83 Metascore
    • 90 Dana Stevens
    She (Varda) plucks images and stories from the world around her, finding beauty and nourishment in lives and activities the world prefers to ignore.
    • 83 Metascore
    • 90 Dana Stevens
    This movie operates in the limbo between memory and oblivion that we recognize as daily life. It bears courageous and stringent witness to the impossibility of bearing witness.
    • 76 Metascore
    • 90 Dana Stevens
    It's not one of Kurosawa's great films.... But it is, within its own proportions, nearly perfect.
    • 66 Metascore
    • 90 Dana Stevens
    An unexpected delight, a film that weds the humor and magic of a folk tale with a very modern feel for the psychological dynamics between men and women and for the subtle politics of male rivalry in a macho culture. It has been made and acted with intelligence and evident love, which deserves to be requited.
    • 75 Metascore
    • 90 Dana Stevens
    If you have any affection at all for traditional American music, the movie itself -- is pretty close to heaven.
    • 79 Metascore
    • 90 Dana Stevens
    The lovely clarity of this story, which seems to have been drawn from the literature of an earlier age, is well served by the artful subtlety of the telling. Mr. Majidi prefers imagery to exposition, and his shots are as dense with meaning, and as readily accessible, as Dutch paintings.
    • 80 Metascore
    • 90 Dana Stevens
    Essential viewing for anyone who desires a sense of the finer human grain of a war that now commands the attention of the world as never before.
    • 82 Metascore
    • 90 Dana Stevens
    One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
    • 64 Metascore
    • 90 Dana Stevens
    Moves with fluidity and ease through brisk opening conventions to a perfectly poised and balanced endgame.
    • 86 Metascore
    • 90 Dana Stevens
    Its effects seem more like those of a poem or a piece of music than a movie. Requires the reverent darkness and communal solitude of a theater.
    • 85 Metascore
    • 90 Dana Stevens
    The political implications of the film are manifest, as is the quiet courage of making it.
    • 69 Metascore
    • 90 Dana Stevens
    It is, all in all, a rambunctious and inspired ride in which the Coen brothers' voracious fascination with the arcana of American popular culture and their whiz-kid inventiveness reach new heights of whimsy.
    • 73 Metascore
    • 90 Dana Stevens
    One of the best entertainments this season has yet offered.
    • 71 Metascore
    • 90 Dana Stevens
    Remarkable for its genuine, unpretentious lyricism.
    • 75 Metascore
    • 90 Dana Stevens
    By allowing the stories to play off one another and allowing layers of meaning to accumulate before we even notice them, the filmmakers capture some of the essential strangeness of life -- the way our relations are governed by laws that remain invisible to us until art reveals their workings.
    • 74 Metascore
    • 90 Dana Stevens
    Thrillingly smart, but not, like so many other pictures in this vein, merely an elaborate excuse for its own cleverness. As you puzzle over the intricacies of its shape, which reveal themselves only in retrospect, you may also find yourself surprised by the depth of its insights.
    • 71 Metascore
    • 90 Dana Stevens
    It is the work of a master -- of more than one, for that matter. Mr. Godard, who once called it "my first real film," was showing the obsession with, and mastery of, cinematic technique that would make him one of the culture heroes of the 1960's.
    • 85 Metascore
    • 90 Dana Stevens
    Polanski, who was a Jewish child in Krakow when the Germans arrived in September 1939, presents Szpilman's story with bleak, acid humor and with a ruthless objectivity that encompasses both cynicism and compassion.
    • 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.
    • 73 Metascore
    • 90 Dana Stevens
    The Coens have used the noir idiom to fashion a haunting, beautifully made movie that refers to nothing outside itself and that disperses like a vapor as soon as it's over.
    • 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.
    • 79 Metascore
    • 90 Dana Stevens
    He's (Kingsley) pure violence, a sociopath who radiates menace even while sitting perfectly still mouthing pleasantries.
    • 86 Metascore
    • 90 Dana Stevens
    Ten
    A work of inspired simplicity.
    • 91 Metascore
    • 90 Dana Stevens
    Offers the kind of experience that makes you glad movies exist.
    • 73 Metascore
    • 90 Dana Stevens
    A brilliant satire of emotional politics.
    • 86 Metascore
    • 90 Dana Stevens
    Mr. Ozon gives the movie to Ms. Rampling, whose performance is like a perfectly executed piano etude, finding precise, impossibly subtle shadings of pleasure, confusion and distress.
    • 48 Metascore
    • 90 Dana Stevens
    Mr. Parker has brilliantly updated his source and grasped its essence, composing a sorrowful and hilarious tone poem about alienated labor, or an absurdist workplace sitcom, as if a team of French surrealists had been put in charge of "The Drew Carey Show."
    • 78 Metascore
    • 90 Dana Stevens
    The film they have put together is dense with sound and information, but it moves with a swift, lilting rhythm that is of a piece with the musical heritage it explores.
    • 65 Metascore
    • 90 Dana Stevens
    It's amazing to see a film so brazenly experimental, so committed to reflecting on the circumstances and techniques of its making, that is at the same time so intent upon delivering old-fashioned cinematic pleasures like humor and pathos, character and plot.
    • 65 Metascore
    • 90 Dana Stevens
    (Spielberg) tells the story slowly and films it with lucid, mesmerizing objectivity, creating a mood as layered, dissonant and strange as John Williams's unusually restrained. modernist score.
    • 82 Metascore
    • 90 Dana Stevens
    Like so many European pictures these days, Read My Lips seems destined to be remade in Hollywood, and it is unlikely to be improved by the addition of vainer actors, a simpler screenplay and flashier direction.
    • 75 Metascore
    • 90 Dana Stevens
    At the end, when they have created a vibrant new theater program for their school, their sense of triumph is infectious. " 'Our Town' Is Ghetto!" one of them exults. Thornton Wilder, wherever he is, would understand and take it as a compliment.
    • 77 Metascore
    • 90 Dana Stevens
    In an era whose culture was defined by what the literary critic Richard Poirier called the performing self, Mr. Ali's persona was one of the greatest performances of all.
    • 86 Metascore
    • 90 Dana Stevens
    To call The Son a masterpiece would be to insult its modesty. Like the homely, useful boxes Olivier teaches his prodigals to build, it is sturdy, durable and, in its downcast, unobtrusive way, miraculous.
    • 84 Metascore
    • 90 Dana Stevens
    Like the great films of the 1930's and early 40's, it is at once artful and unpretentious, sophisticated and completely accessible, sure of its own authority and generous toward characters and audience alike -- a movie whose intended public is the human race.
    • 80 Metascore
    • 90 Dana Stevens
    Enough drama, humor and unfiltered nail-biting suspense to put all the thrill-mongering screenwriters in Hollywood to shame.
    • 71 Metascore
    • 90 Dana Stevens
    One of the few recent movies I have seen that plunged me into that rare, giddy state of pleasurable confusion, of not knowing what would happen next, which I associate with the reading and moviegoing experiences of my own childhood. But there is no reason that children should have a monopoly on this primal, wonderful experience.
    • 66 Metascore
    • 90 Dana Stevens
    Heist is a pleasure to watch, and the greatest pleasure is to watch Mr. Lindo and Mr. Hackman steal it.
    • 70 Metascore
    • 90 Dana Stevens
    Since her character wears no historical costumes and suffers from no debilitating ailment, it is likely that Ms. Curtis will be overlooked when Oscar season rolls around. This is a shame, since it is unlikely that any other actress this year will match the loose, energetic wit she brings to this delightful movie.
    • 80 Metascore
    • 90 Dana Stevens
    A brilliant feat of rug-pulling, sure to delight fans of movies like "The Usual Suspects" and "Pi."
    • 64 Metascore
    • 90 Dana Stevens
    There is nothing quite like this movie, and I'm not altogether sure there is much more to it than its lovely peculiarity. But at a moment when so many films strive to be obvious and interchangeable as possible, it is gratifying to find one that is puzzling, subtle and handmade.
    • 73 Metascore
    • 90 Dana Stevens
    An astute and surprisingly gripping drama not only about the ethics of magazine writing, but also, more generally, about the subtle political and psychological dynamics of modern office culture.
    • 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.
    • 83 Metascore
    • 90 Dana Stevens
    Osama's unvarnished vulnerability, along with the director's combination of tough-mindedness and lyricism, prevents the movie from becoming at all sentimental; instead, it is beautiful, thoughtful and almost unbearably sad.
    • 78 Metascore
    • 90 Dana Stevens
    Stringent, clinical and almost unbearably moving.
    • 85 Metascore
    • 90 Dana Stevens
    An exquisitely simple movie. Mr. Kim manages to isolate something essential about human nature and at the same time, even more astonishingly, to comprehend the scope of human experience.
    • 76 Metascore
    • 90 Dana Stevens
    Fascinating. Anyone interested in the challenges and techniques of acting -- which is really to say, anyone interested in human behavior -- should turn off E! and head down to Mr. Almereyda's film.
    • 82 Metascore
    • 90 Dana Stevens
    It seems almost unthinkable that such a charismatic, generous and lively man could be gone. It also makes you understand what it means for a country like Haiti to lose a citizen like Jean Dominique.
    • 83 Metascore
    • 90 Dana Stevens
    Better than its predecessor, and also superior to most other comic-book-based movies. It has a more credible (and more frightening) villain, a more capacious and original story and a self-confidence based not only on the huge success of the first "Spider-Man" but also on Mr. Raimi's intuitive and enthusiastic grasp of the material.
    • 74 Metascore
    • 90 Dana Stevens
    You realize you are witnessing a psychodrama of novelistic intricacy and epic scope.
    • 76 Metascore
    • 90 Dana Stevens
    A political thriller that manages to be at once silly and clever, buoyantly satirical and sneakily disturbing, but he (Demme) has recovered some of the lightness and sureness of touch that had faded from his movies after "The Silence of the Lambs."
    • 82 Metascore
    • 90 Dana Stevens
    Has a quiet, cumulative magic, whose source is hard to identify. Its simple, meticulously composed frames are full of mystery and feeling; it's an action movie that stands perfectly still.
    • 75 Metascore
    • 90 Dana Stevens
    Mr. Bernal's soulful, magnetic performance notwithstanding, the real star of the film is South America itself, revealed in the cinematographer Eric Gautier's misty green images as a land of jarring and enigmatic beauty.
    • 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.
    • 79 Metascore
    • 90 Dana Stevens
    Mr. Condon's great achievement is to turn Kinsey's complicated and controversial career into a grand intellectual drama.
    • 72 Metascore
    • 90 Dana Stevens
    All the drinking, arguing and brooding, which in lesser hands might have produced oppressive and unvarying dreariness, somehow adds up to a tableau of extraordinary vividness and variety.
    • 72 Metascore
    • 90 Dana Stevens
    The director manages to evade both the stuffy antiquarianism and the pandering anachronism that subvert so many cinematic attempts at historical inquiry.
    • 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.

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