For 1,113 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: 62
Highest review score: 100 Fruitvale Station
Lowest review score: 0 State Property
Score distribution:
1,113 movie reviews
    • 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.
    • 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.
    • 71 Metascore
    • 90 Dana Stevens
    The visual beauty of the film, rather than distracting from the troubling story, makes it more troubling still.
    • 80 Metascore
    • 90 Dana Stevens
    He [Clooney] has found a cogent subject, an urgent set of ideas and a formally inventive, absolutely convincing way to make them live on screen.
    • 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.
    • 66 Metascore
    • 90 Dana Stevens
    Mr. Stone has taken a public tragedy and turned it into something at once genuinely stirring and terribly sad. His film offers both a harrowing return to a singular, disastrous episode in the recent past and a refuge from the ugly, depressing realities of its aftermath.
    • 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.
    • 74 Metascore
    • 90 Dana Stevens
    Alan, who Mr. Sachs has said was based on his own father, is a great character - passionate, complicated, bursting with life. Those words also describe Mr. Torn's performance.
    • 75 Metascore
    • 90 Dana Stevens
    It's not a perfect movie, and it does not aspire to be a great one. It's just wonderful.
    • 79 Metascore
    • 90 Dana Stevens
    If nothing else, it's an eye-boggling two hours at the movies and a must for Swinton completists fascinated by her recent turn toward operatic roles in odd, unmarketable films like this one and last year's Julia. She's becoming the Maria Callas of international cinema.
    • 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."
    • 84 Metascore
    • 90 Dana Stevens
    Mr. Sauper has produced an extraordinary work of visual journalism, a richly illustrated report on a distant catastrophe that is also one of the central stories of our time.
    • 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.
    • 92 Metascore
    • 90 Dana Stevens
    [It] isn't quite documentary filmmaking, but it certainly (and sickeningly) isn't fiction either.
    • 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.
    • 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.
    • 88 Metascore
    • 90 Dana Stevens
    Even if you couldn’t care less about jazz drumming, though, Whiplash is a thrill to watch. Underneath that taut, stylish surface, it’s really a movie about the perils of pedagogy, about the relationship between a passionate (perhaps too passionate) student and a demanding (perhaps too demanding) teacher. Which is to say, a movie about a uniquely powerful and potentially destructive form of love.
    • 86 Metascore
    • 90 Dana Stevens
    I’ve always admired this director’s commitment to both seriousness and laughter, to showing the beauty and significance of ordinary human life side by side with its petty, venal absurdity.
    • 83 Metascore
    • 90 Dana Stevens
    I'll be forever grateful to this movie for introducing me to Nim's story, a tale so powerful and suggestive that it functions as a myth about the ever-mysterious relationship between human beings and animals.
    • 87 Metascore
    • 90 Dana Stevens
    The animation is a marvel - all the more so because the most demanding sequences seem almost casually tossed off. The world of Wallace and Gromit is one of the few genuinely eccentric places left in the movies, a place where lumpy, doughy characters achieve a peculiar dignity in spite of their grotesque features and the ridiculousness of their circumstances.
    • 79 Metascore
    • 90 Dana Stevens
    He's (Kingsley) pure violence, a sociopath who radiates menace even while sitting perfectly still mouthing pleasantries.
    • 73 Metascore
    • 90 Dana Stevens
    A gorgeous, heartbreaking and utterly convincing work of art.
    • 82 Metascore
    • 90 Dana Stevens
    Both sharply comical and piercingly sad. Mr. Baumbach surveys the members of the flawed, collapsing Berkman family with sympathy but without mercy, noting their individual and collective failures and imperfections with relentless precision.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 90 Dana Stevens
    You come away from his film overwhelmed, hopeful and, perhaps paradoxically, illuminated.
    • 85 Metascore
    • 90 Dana Stevens
    The political implications of the film are manifest, as is the quiet courage of making it.
    • 75 Metascore
    • 90 Dana Stevens
    Easy Money's big heist scene is the only action set piece so far this year that was so suspenseful I could feel my heartbeat in my ears.
    • 81 Metascore
    • 90 Dana Stevens
    Williams plays this tired, disillusioned, chronically angry woman without a trace of actorly vanity. It's a performance noteworthy not just for its intensity but for Williams' ability to communicate inner experience at a micro-level of detail.

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