For 1,157 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 1.1 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 Salinger
Score distribution:
1157 movie reviews
    • 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.
    • 86 Metascore
    • 90 Dana Stevens
    May be the most necessary film you'll see this year. But if you go to the movies in search of emotion rather than edification, don't let that word necessary deter you, because this is also one of the most engaging films you'll see this year, full of vibrant, complex real-life characters whose troubles and joys will stay with you long after the movie's done.
    • 73 Metascore
    • 90 Dana Stevens
    The Coens have used the noir idiom to fashion a haunting, beautifully made movie that refers to nothing outside itself and that disperses like a vapor as soon as it's over.
    • 79 Metascore
    • 90 Dana Stevens
    Russell has always excelled at finding new ways to use familiar actors, and every performance in The Fighter is noteworthy if not outstanding.
    • 82 Metascore
    • 90 Dana Stevens
    One of the great movies of the 1960's, but it has been, in this country at least, maddeningly elusive. In spite of its bitter edge, Billy Liar is pure Ambrosia.
    • 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.
    • 48 Metascore
    • 90 Dana Stevens
    Mr. Parker has brilliantly updated his source and grasped its essence, composing a sorrowful and hilarious tone poem about alienated labor, or an absurdist workplace sitcom, as if a team of French surrealists had been put in charge of "The Drew Carey Show."
    • 88 Metascore
    • 90 Dana Stevens
    Like its hero, who is brave without a trace of bravado, Overlord is unusually quiet and thoughtful. The scale and ambition of combat movies has usually been epic, but this one is disarmingly lyrical and subjective.
    • 73 Metascore
    • 90 Dana Stevens
    A brilliant satire of emotional politics.
    • 77 Metascore
    • 90 Dana Stevens
    A refreshing movie that's so good natured, so confident of its ability to provoke not queasy awe or numb exhaustion but pure delight.
    • 93 Metascore
    • 90 Dana Stevens
    Spotlight provides a wealth of exceptional performances.
    • 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.
    • 74 Metascore
    • 90 Dana Stevens
    An almost unbearably powerful documentary.
    • 90 Metascore
    • 90 Dana Stevens
    In spite of its limited perspective on Vietnam, its churning, term-paperish exploration of Conrad and the near incoherence of its ending, (it) is a great movie. It grows richer and stranger with each viewing, and the restoration of scenes left in the cutting room two decades ago has only added to its sublimity.
    • 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.
    • 73 Metascore
    • 90 Dana Stevens
    An astute and surprisingly gripping drama not only about the ethics of magazine writing, but also, more generally, about the subtle political and psychological dynamics of modern office culture.
    • 80 Metascore
    • 90 Dana Stevens
    Enough drama, humor and unfiltered nail-biting suspense to put all the thrill-mongering screenwriters in Hollywood to shame.
    • 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.
    • 86 Metascore
    • 90 Dana Stevens
    Mr. Ozon gives the movie to Ms. Rampling, whose performance is like a perfectly executed piano etude, finding precise, impossibly subtle shadings of pleasure, confusion and distress.
    • 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.
    • 85 Metascore
    • 90 Dana Stevens
    Amy
    Amy Winehouse’s story is a tragic one — as with Kurt Cobain, who also died at 27, her potential as a singer and songwriter was only just beginning to be realized. Yet the prevailing mood of this documentary is joy. Kapadia captures what was irreplaceable about this unique performer, and in the process gives her the opportunity to do what she was made to do, the only thing she ever really wanted: to sing.

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