For 1,106 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 2.1 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 A Mighty Wind
Lowest review score: 0 Sorority Boys
Score distribution:
1,106 movie reviews
    • 49 Metascore
    • 30 Dana Stevens
    Tron: Legacy is the kind of sensory-onslaught blockbuster that tends to put me to sleep, the way babies will nap to block out overwhelming stimuli. I confess I may have snoozed through one or two climactic battles only to be startled awake by an incoming neon Frisbee.
    • 25 Metascore
    • 30 Dana Stevens
    With its low-stakes chase scenes, obvious-from-the-get-go villains and nonsensical plotting, this feels more like a 96-minute-long episode of Scooby-Doo that's been laboriously translated into another language and then back into English.
    • 38 Metascore
    • 30 Dana Stevens
    Seems both overplotted and underimagined, though there is at least some creativity and a dose of realism, evident in the hairstyles themselves.
    • 39 Metascore
    • 30 Dana Stevens
    Like a ham-fisted high-concept public service announcement, directed with stagy deliberateness and written with tin-eared vernacular speechiness.
    • 41 Metascore
    • 30 Dana Stevens
    This script - a collaboration between Hanks and Nia Vardalos, the writer and star of "My Big Fat Greek Wedding" - would need multiple punch-up sessions to attain mediocrity. Roberts and Hanks aren't just prevented from playing their A games; they're never even taken off the bench.
    • 40 Metascore
    • 30 Dana Stevens
    Lord Lloyd Webber's thorough acquaintance with the canon of 18th- and 19th-century classical music is not in doubt, but his attempt to force a marriage between that tradition and modern musical theater represents a victory of pseudo-populist grandiosity over taste - an act of cultural butchery akin to turning an aviary of graceful swans and brilliant peacocks into an order of Chicken McNuggets.
    • 35 Metascore
    • 30 Dana Stevens
    Proves that a movie about goodness is not the same thing as a good movie.
    • 57 Metascore
    • 30 Dana Stevens
    Snow White and the Huntsman, the first feature from British commercial director Rupert Sanders, has its work cut out for it if it wants to be a truly dull piece of junk - but it manages.
    • 48 Metascore
    • 30 Dana Stevens
    Unfortunately, the movie's real setting is a sentimental fantasy world, and its story is a spectacularly incoherent exercise in geopolitical wish fulfillment.
    • 35 Metascore
    • 30 Dana Stevens
    I suppose Rumor Has It could be worse, though at the moment I'm at a loss to say just how.
    • 56 Metascore
    • 30 Dana Stevens
    The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
    • 29 Metascore
    • 30 Dana Stevens
    Even fans of open-wheel racing, the high-speed, high-stress pastime that is the subject of Renny Harlin's hectic new film, may walk away from it more logy than exhilarated.
    • 26 Metascore
    • 30 Dana Stevens
    It might have been a satisfying if not terribly original piece of historical melodrama, but its clumsiness turns it, against its best intentions, into half-baked operatic kitsch.
    • 37 Metascore
    • 30 Dana Stevens
    The real question raised by The United States of Leland is not why, but how. How, that is, did so many talented actors find their way to this dreary and derivative study in suburban dysfunction?
    • 39 Metascore
    • 30 Dana Stevens
    Sadly, these small bursts of beauty seemed so at odds with the movie's general crushing mediocrity that they were like quickly squelched protests against it.
    • 27 Metascore
    • 30 Dana Stevens
    Exists in a realm beyond sense, and induces in the viewer a trancelike state, leaving the mind free to ponder the mysteries of the universe.
    • 71 Metascore
    • 30 Dana Stevens
    I don't know how much The Score cost, but it's pretty close to worthless.
    • 31 Metascore
    • 30 Dana Stevens
    The relentless upbeatness of Life or Something Like It wrecks the possibility of either real laughter or genuine pathos.
    • 58 Metascore
    • 30 Dana Stevens
    I didn’t like the movie at all — found it boring, unintentionally comical, at times even (a word I seldom use) pretentious — but I admire the rest of your work so much that I nonetheless feel the need to defend To the Wonder.
    • 32 Metascore
    • 30 Dana Stevens
    An unholy, incoherent mess.
    • 67 Metascore
    • 30 Dana Stevens
    Clearly, this is an affair to forget.
    • 29 Metascore
    • 30 Dana Stevens
    The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
    • 35 Metascore
    • 30 Dana Stevens
    May have had the unintended effect of obscuring the original it meant to honor.
    • 47 Metascore
    • 30 Dana Stevens
    This is a time-tested movie con, but rarely has it been deployed so contemptibly.
    • 52 Metascore
    • 30 Dana Stevens
    It's deeply committed to its own weird conceit, diminishing returns and all.
    • 34 Metascore
    • 30 Dana Stevens
    This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
    • 23 Metascore
    • 30 Dana Stevens
    Having established its premise and set in motion an overloaded plot, the picture lurches this way and that, evoking more restlessness than laughter and more boredom than pathos.
    • 28 Metascore
    • 30 Dana Stevens
    The absence of a single noteworthy villain is perhaps this movie’s most salient flaw (along with the jumbled, barely coherent editing of a seemingly endless chase through a Moscow traffic jam).
    • 33 Metascore
    • 30 Dana Stevens
    It's like watching two superbly conditioned rowers try to race a boat made of folded newspaper. Hard as they work, they just can't make it go any faster.
    • 35 Metascore
    • 30 Dana Stevens
    It would be easier to forgive Identity Thief its overfamiliar comic setups and shameless gag-recycling if the movie’s second half didn’t make such an abrupt about-face from soliciting our revulsion to begging for our pity.

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