For 1,185 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 0.1 points lower than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Call Me by Your Name
Lowest review score: 0 Sorority Boys
Score distribution:
1185 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.
    • 99 Metascore
    • 100 Dana Stevens
    Moonlight is one of those movies that showers its audience with blessings: raw yet accomplished performances from a uniformly fine cast, casually lyrical camerawork, and a frankly romantic soundtrack that runs the gamut from ’70s Jamaican pop to a Mexican folk song crooned by the Brazilian Caetano Veloso. But the film’s greatest gift may be that flood of cleansing tears—which, by the time this spare but affecting film was over, I was also shedding in copious volume.
    • 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.
    • 96 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.
    • 96 Metascore
    • 100 Dana Stevens
    Each character in this movie — down to the smallest cameo by Lonergan himself — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.
    • 96 Metascore
    • 80 Dana Stevens
    This is not to say that Gravity is a masterpiece: Unlike Cuarón’s extraordinary "Children of Men", it doesn’t quite pull off its ambitious effort to combine formal inventiveness, heart-pounding action, and intimate human storytelling. But it succeeds thrillingly at the first two of those categories, and only misses the mark on the last because it tries a little too hard — which is certainly a welcome respite from the countless sci-fi thrillers that privilege the human story not at all.
    • 95 Metascore
    • 100 Dana Stevens
    The director Todd Haynes and the novelist Patricia Highsmith fit together like a hand and glove - a beautifully manicured hand and a sleek gray-green leather glove, two images that figure prominently in Carol.
    • 61 Metascore
    • 60 Dana Stevens
    The Wackness may not have much that's new to say about being 17--it's a fairly standard coming-of-age drama with a couple of noteworthy performances--but it's a definitive compendium of trivia about 1994 (by Levine's lights, the best year ever).
    • Slate
    • 95 Metascore
    • 80 Dana Stevens
    The Social Network wants to be a social satire, a miniaturist comedy of manners, and a Greek tragedy; it bites off a lot, at times more than it can chew. But even the unmasticated morsels are pretty tasty.
    • 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
    • 80 Dana Stevens
    Linklater may not have set out to make a decade-spanning triptych of poetic meditations on youth, young adulthood, and middle age, but he, Hawke, and Delpy have accomplished exactly that. The Before series has steadily gotten better as it goes along, which is more than any but the most optimistic among us dare to hope for from love.
    • 94 Metascore
    • 100 Dana Stevens
    The swift-moving, pulse-pounding Dunkirk reveals its filmmaker at his most nimble, supple, and simple.
    • 94 Metascore
    • 100 Dana Stevens
    45 Years is about the relationship of the present to the past and of our past loves to our present lives—a relationship that, like any good marriage, remains a total mystery.
    • 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.
    • 94 Metascore
    • 100 Dana Stevens
    Only in the medium of animation could a conceit as elaborate as Inside Out’s be dramatized, and only animation this well-designed and executed could bring such a story so vibrantly to life.
    • 94 Metascore
    • 90 Dana Stevens
    It’s not clear how autobiographical Lady Bird is — Gerwig is from Sacramento and graduated from high school around the time the film is set — but the little slice of universe she shows us feels deeply and lovingly observed.
    • 94 Metascore
    • 80 Dana Stevens
    In the quietly devastating Amour, Haneke's cool, dispassionate gaze feels, for the first time, something like love.
    • 93 Metascore
    • 90 Dana Stevens
    Spotlight provides a wealth of exceptional performances.
    • 93 Metascore
    • 100 Dana Stevens
    This is the kind of movie you live in as much as watch. Some of its images—Hammer’s Oliver dancing with unselfconscious abandon, Chalamet’s face in extended close-up in the stunning final shot—stay with you afterward like memories of your own half-remembered romance.
    • 93 Metascore
    • 100 Dana Stevens
    For all its borrowing and bricolage, La La Land never feels like a backward-looking or unoriginal work. Even when not every one of its risks pays off the way that first song does, this movie is bold, vital, funny, and alive.
    • 93 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.
    • 93 Metascore
    • 100 Dana Stevens
    For a story that's all about the harnessing of fateful chthonic forces, Paul Thomas Anderson has dug deeper than ever before, and struck black gold.
    • 92 Metascore
    • 90 Dana Stevens
    The film’s structure at first seems loose and episodic, but each scene serves a purpose.
    • 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.
    • 78 Metascore
    • 80 Dana Stevens
    Poetry is perhaps the best way to think about Mr. Anderson's suave, exuberant balance of free-form inspiration and formal control.
    • 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.
    • 92 Metascore
    • 90 Dana Stevens
    A near-perfect piece of popular entertainment, a children's classic.
    • 92 Metascore
    • 90 Dana Stevens
    [It] isn't quite documentary filmmaking, but it certainly (and sickeningly) isn't fiction either.

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