For 777 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.5 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Last Orders
Lowest review score: 0 State Property
Score distribution:
  1. Negative: 99 out of 777
777 movie reviews
    • 71 Metascore
    • 80 Dana Stevens
    Leaves you with a sense of quiet, chastened grace.
    • 68 Metascore
    • 80 Dana Stevens
    The passions of "Plata Quemada" are as bold as the images.
    • 66 Metascore
    • 80 Dana Stevens
    The first really good spy movie about the impossibility, under present historical circumstances, of making a really good spy movie.
    • 82 Metascore
    • 80 Dana Stevens
    Electrifying.
    • 71 Metascore
    • 80 Dana Stevens
    At once wildly metaphorical and distressingly literal-minded, Shadow of the Vampire tries, with mixed success, to be scary, funny and profound all at once.
    • 55 Metascore
    • 80 Dana Stevens
    Whether or not The River is, as some critics have claimed, Mr. Tsai's masterpiece, it is an excellent introduction to his oblique narrative style, his favored themes and his careful, lyrical visual sensibility.
    • 68 Metascore
    • 80 Dana Stevens
    Soldini's amiable new comedy suggests that an older, better Italy of imagination, rationality and civility survives on the fringes of a modern nation obsessed, like most others, with consumerism, empty prosperity and easy pleasure.
    • 67 Metascore
    • 80 Dana Stevens
    With a neck-snapping jolt, turns into the scariest exercise in cinematic sleight of hand since "The Blair Witch Project."
    • 76 Metascore
    • 80 Dana Stevens
    An investigation, at once lucid and enigmatic, of exile, loneliness and the fragile possibility of friendship.
    • 59 Metascore
    • 80 Dana Stevens
    Perhaps it's all a bit too much, and perhaps it doesn't add up, but the loose ends give the picture a jaunty, improvised feeling that, while it leads to some confusion, is ultimately part of its whimsical charm.
    • 64 Metascore
    • 80 Dana Stevens
    What distinguishes The Low Down from movies like "The Brothers McMullen" and "My Life's in Turnaround" is its ragged edge of authenticity, its refusal to plot its characters' lives on the graph of romantic comedy convention.
    • 81 Metascore
    • 80 Dana Stevens
    As sublimely warming an experience as the autumn sun that shines benevolently on the vineyard owned by the film's central character.
    • 77 Metascore
    • 80 Dana Stevens
    Revisits the San Francisco of the late 1960's and early 70's, a time and place so encrusted with legend and cliché that you might wonder if there is anything left to say. It turns out there is quite a lot -- which the filmmakers have brought triumphantly to life.
    • 48 Metascore
    • 80 Dana Stevens
    The most shocking thing about it may be its unabashed sincerity.
    • 68 Metascore
    • 80 Dana Stevens
    Your attention is rewarded by a film of surprising depth and a few deep surprises.
    • 78 Metascore
    • 80 Dana Stevens
    Strikes a difficult and necessary moral balance, refusing to succumb to hopelessness but also refusing to rule it out.
    • 79 Metascore
    • 80 Dana Stevens
    Two very fine actors, Ned Beatty and Liev Schreiber, engaged in an intense contest to see who can give the more understated performance.
    • 58 Metascore
    • 80 Dana Stevens
    With the help of an ensemble that is nearly flawless, she (Troche) assembles the damaged human elements of Ms. Homes's world with patience and precision, and more often than not chooses dry understatement over easy satire or obvious sentiment.
    • 61 Metascore
    • 80 Dana Stevens
    At once somber and mysterious, comical and sad. It shows just how lonely a crowded city can be.
    • 85 Metascore
    • 80 Dana Stevens
    The tale, in any case, is so gripping, so full of improbable turns and agonizing reversals that it bears repeating, and Mr. Butler and Ms. Alexander tell it straightforwardly and well.
    • 71 Metascore
    • 80 Dana Stevens
    Ms. Gleize, through a series of oblique, half-comic scenes and meticulous, rhyming visual compositions, offers up an elegant, discursive essay on carnality and carnivorousness -- on sex, death, meat and the ravening hunger for companionship.
    • 72 Metascore
    • 80 Dana Stevens
    Mr. Leconte seems at last to have anchored his cinematic gifts to a story worth caring about.
    • 59 Metascore
    • 80 Dana Stevens
    The story, to the extent that it is comprehensible, is pretentious and banal, closer to "Vanilla Sky" than "Notorious." But Mr. De Palma proves that, in the absence of insight or ideas, some amazing things are possible. It is possible, for instance, to be entranced by a movie without believing it for a second.
    • 72 Metascore
    • 80 Dana Stevens
    A freshness and intensity that recall the television series "My So-Called Life."
    • 62 Metascore
    • 80 Dana Stevens
    Instead of prying into his soul, the filmmakers investigate his working conditions and offer a sort of backstage ethnographic study of the professional stand-up culture.
    • 63 Metascore
    • 80 Dana Stevens
    Reflects the sensibility of the generation it holds up to critical scrutiny, and it's a cunningly ambiguous act of self-portraiture.
    • 70 Metascore
    • 80 Dana Stevens
    For the most part, it works beautifully as a movie without sacrificing the integrity of the opera.
    • 77 Metascore
    • 80 Dana Stevens
    The real protagonist is the family itself -- a fragile, complex organism undermined by internal conflict and menaced by the cruelty and indifference of the society around them.
    • 61 Metascore
    • 80 Dana Stevens
    It is an enormous improvement over the brainless, patronizing teenage romances that have slouched into (and quickly out of) theaters in recent years. But it could, if the filmmakers had trusted themselves and the actors a bit more, have lived up to its title.
    • 61 Metascore
    • 80 Dana Stevens
    With Quitting, he (Zhang) has removed sentimentality from the theme and presented it with unflinching honesty, a quality he shares with his fearless cast.