For 1,102 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 The World's End
Lowest review score: 0 Sorority Boys
Score distribution:
1,102 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 90 Dana Stevens
    There is nothing quite like this movie, and I'm not altogether sure there is much more to it than its lovely peculiarity. But at a moment when so many films strive to be obvious and interchangeable as possible, it is gratifying to find one that is puzzling, subtle and handmade.
    • 79 Metascore
    • 90 Dana Stevens
    Mr. Condon's great achievement is to turn Kinsey's complicated and controversial career into a grand intellectual drama.
    • 97 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.
    • 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.
    • 75 Metascore
    • 90 Dana Stevens
    At the end, when they have created a vibrant new theater program for their school, their sense of triumph is infectious. " 'Our Town' Is Ghetto!" one of them exults. Thornton Wilder, wherever he is, would understand and take it as a compliment.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 90 Dana Stevens
    Every shot seems measured for maximum effect, and when the pace suddenly quickens in a late action sequence on a deserted subway train, it results in a moment of pure Hitchcockian panic that reverberates like thunder in the fretful, melancholy air.
    • 82 Metascore
    • 90 Dana Stevens
    The film is a triumph of mood and implication.
    • 64 Metascore
    • 90 Dana Stevens
    Moves with fluidity and ease through brisk opening conventions to a perfectly poised and balanced endgame.
    • 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.
    • 84 Metascore
    • 90 Dana Stevens
    Like the great films of the 1930's and early 40's, it is at once artful and unpretentious, sophisticated and completely accessible, sure of its own authority and generous toward characters and audience alike -- a movie whose intended public is the human race.
    • 68 Metascore
    • 90 Dana Stevens
    It's Schoenaerts' magisterial presence that carries the film. In between bursts of convincingly horrific violence (including a fight in an elevator that makes Ryan Gosling's in "Drive" look like a schoolyard tiff), Schoenaerts also shows himself capable of moments of great subtlety and delicacy.
    • 80 Metascore
    • 90 Dana Stevens
    Essential viewing for anyone who desires a sense of the finer human grain of a war that now commands the attention of the world as never before.

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