For 1,111 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 Ghost World
Lowest review score: 0 Salinger
Score distribution:
1,111 movie reviews
    • 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.
    • 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.
    • 75 Metascore
    • 90 Dana Stevens
    The Holy Girl may occasionally frustrate your desire for clarity and order, but in the end it will reward your patience, and you leave the theater in a state of quiet awe.
    • 73 Metascore
    • 90 Dana Stevens
    A gorgeous, heartbreaking and utterly convincing work of art.
    • 68 Metascore
    • 90 Dana Stevens
    This is by far the best film in the more recent trilogy, and also the best of the four episodes Mr. Lucas has directed. That's right (and my inner 11-year-old shudders as I type this): it's better than "Star Wars."
    • 80 Metascore
    • 90 Dana Stevens
    Sophie, in both her incarnations, joins an impressive sisterhood of Miyazaki heroines, whose version of girl power presents a potent alternative to the mini-machismo that dominates American juvenile entertainment. Not that children are the only viewers likely to be haunted and beguiled by Howl's Moving Castle - all that is needed are open eyes and an open heart.
    • 82 Metascore
    • 90 Dana Stevens
    The film is a triumph of mood and implication.
    • 79 Metascore
    • 90 Dana Stevens
    Like a perfect, short-lived love affair, its pleasure is accompanied by a palpable sting of sorrow. It leaves you wanting more, which I mean entirely as a compliment.
    • 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.
    • 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.
    • 88 Metascore
    • 90 Dana Stevens
    A fascinating and fine-grained reconstruction of that period in its subject's life, a time when he (Capote) pursued literary glory and flirted with moral ruin.
    • 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.
    • 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.
    • 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.
    • 84 Metascore
    • 90 Dana Stevens
    A tough and touching exploration of honor and friendship among thieves.
    • 72 Metascore
    • 90 Dana Stevens
    The gloom of random, meaningless existence has rarely been so much fun, and Mr. Allen's bite has never been so sharp, or so deep. A movie this good is no laughing matter.
    • 87 Metascore
    • 90 Dana Stevens
    It represents something stranger and, to those of us with only a secondhand or thirdhand knowledge of that history, more disturbing: a survivor's conviction that there were aspects of the experience itself that can only be described as beautiful.
    • 80 Metascore
    • 90 Dana Stevens
    This is not just a movie-within-a-movie, but a movie-within-a-movie-within-a-movie, something that sounds unbearably arch but that is swift, funny and surprisingly unpretentious.
    • 87 Metascore
    • 90 Dana Stevens
    The Spirit of the Beehive, like "Cinema Paradiso," also takes place at the particular intersection of reality and fantasy defined by youthful moviegoing.

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