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 A Separation
Lowest review score: 0 State Property
Score distribution:
1157 movie reviews
    • 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.
    • 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.
    • 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.
    • 78 Metascore
    • 90 Dana Stevens
    The film they have put together is dense with sound and information, but it moves with a swift, lilting rhythm that is of a piece with the musical heritage it explores.
    • 85 Metascore
    • 90 Dana Stevens
    The middle section of the film, in which we follow Jack's childhood in a series of fragmented memories from birth until about the age of 12, is as astonishingly precise a rendering of the way the world looks to a child as I've seen on film.
    • 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.
    • 81 Metascore
    • 90 Dana Stevens
    It’s a stunningly assured debut, a slyly subversive delight, and one of my favorite movies of the year so far.
    • 71 Metascore
    • 90 Dana Stevens
    One of the few recent movies I have seen that plunged me into that rare, giddy state of pleasurable confusion, of not knowing what would happen next, which I associate with the reading and moviegoing experiences of my own childhood. But there is no reason that children should have a monopoly on this primal, wonderful experience.
    • 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.
    • 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."
    • 65 Metascore
    • 90 Dana Stevens
    It's amazing to see a film so brazenly experimental, so committed to reflecting on the circumstances and techniques of its making, that is at the same time so intent upon delivering old-fashioned cinematic pleasures like humor and pathos, character and plot.
    • 65 Metascore
    • 90 Dana Stevens
    (Spielberg) tells the story slowly and films it with lucid, mesmerizing objectivity, creating a mood as layered, dissonant and strange as John Williams's unusually restrained. modernist score.
    • 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.
    • 80 Metascore
    • 90 Dana Stevens
    The first hour and half or so of True Grit is as good as anything the Coens have ever done-a sweeping Western that, like John Ford's best films, exposes the cracks in American myths of frontier justice and self-reliance.
    • 92 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.
    • 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.
    • 69 Metascore
    • 90 Dana Stevens
    It is, all in all, a rambunctious and inspired ride in which the Coen brothers' voracious fascination with the arcana of American popular culture and their whiz-kid inventiveness reach new heights of whimsy.

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