For 1,066 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 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 Sorority Boys
Score distribution:
1,066 movie reviews
    • 22 Metascore
    • 30 Dana Stevens
    Has some funny, dirty-minded jokes, a few amusing cameos (including Julianne Moore in clown makeup) and a soundtrack loaded with juicy cuts of mid-70's vintage soul and funk.
    • 35 Metascore
    • 30 Dana Stevens
    May have had the unintended effect of obscuring the original it meant to honor.
    • 71 Metascore
    • 30 Dana Stevens
    I don't know how much The Score cost, but it's pretty close to worthless.
    • 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.
    • 67 Metascore
    • 30 Dana Stevens
    Clearly, this is an affair to forget.
    • 21 Metascore
    • 30 Dana Stevens
    Suffers from a fatal lack of modulation. It paints a picture of inner-city life as an endless sequence of beatings and shouting matches, and in its glum cartoonishness insults the people whose strivings it means to honor.
    • 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.
    • 34 Metascore
    • 30 Dana Stevens
    Works hard at being charming, but comedy is best when it looks effortless.
    • 31 Metascore
    • 30 Dana Stevens
    The relentless upbeatness of Life or Something Like It wrecks the possibility of either real laughter or genuine pathos.
    • 32 Metascore
    • 30 Dana Stevens
    An unholy, incoherent mess.
    • 34 Metascore
    • 30 Dana Stevens
    This movie, a chaotic caper film at heart, wrecks its comic tone with some moments of gruesome violence.
    • 31 Metascore
    • 30 Dana Stevens
    Emotionally incoherent.
    • 29 Metascore
    • 30 Dana Stevens
    Before Civil Brand erupts into over-the-top melodrama (which is pretty early), it shows some interest in its characters, and in its less screechy moments the dialogue has the rough, bantering ring of actual speech.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Dana Stevens
    Proves that a movie about goodness is not the same thing as a good movie.
    • 47 Metascore
    • 30 Dana Stevens
    Imagine "Last Tango in Paris" remade as a wan, low-budget romantic comedy.
    • 44 Metascore
    • 30 Dana Stevens
    The very confusion that has made him (Rock) so unpredictable and funny onstage makes this on-screen exploration of contemporary racial mythologies curiously tentative and unfocused.
    • 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.
    • 32 Metascore
    • 30 Dana Stevens
    Plays every convention twice, once as parody and once by the book, but the movie, trying to be two things at once, fails at both.
    • 32 Metascore
    • 30 Dana Stevens
    Mr. Jones, who recently starred in "Zig-Zag," a similarly striving, overwrought picture, is a disciplined and likable performer, and he bravely perseveres in the face of narrative absurdity and rampant overacting.
    • 29 Metascore
    • 30 Dana Stevens
    The best thing that can be said about Boys and Girls is that it is studiously inoffensive.
    • 56 Metascore
    • 30 Dana Stevens
    The only thing missing is a coherent story -- or even, for that matter, an interesting idea for one.
    • 38 Metascore
    • 30 Dana Stevens
    Proves to be both too much and not enough: yet another slick, empty package of ersatz entertainment.
    • 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.
    • 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?
    • 47 Metascore
    • 30 Dana Stevens
    Offers a view of pornography that is nonjudgmental, even celebratory, but at the same time its premise -- that Danielle must be rescued from the shame and degradation of her old job -- suggests a more traditional, disapproving point of view. Instead of addressing this contradiction, the movie is happy to wallow in it, which would be fine if it had any real pleasure to offer.
    • 33 Metascore
    • 30 Dana Stevens
    Its lack of subtlety is clearly a point of pride, and Mr. Hensleigh's flat-footed, hard-punching style has a blunt ferocity that makes "Kill Bill" look like "In the Bedroom."