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 E.T.: The Extra-Terrestrial (re-release)
Lowest review score: 0 I'm Still Here
Score distribution:
1,102 movie reviews
    • 72 Metascore
    • 80 Dana Stevens
    It works on the mind as well as the funny bone and the gag reflex.
    • 72 Metascore
    • 80 Dana Stevens
    Glatzer and Westmoreland don’t need to stack the emotional deck on Alice’s behalf or wring tears from the irony of a brilliant linguist’s cognitive decline. They just leave the camera on Moore’s beautiful but increasingly faraway face, and our tears come on their own.
    • 89 Metascore
    • 80 Dana Stevens
    Among the most profound, formally complex, and emotionally overpowering documentaries I’ve ever seen. It’s also, by turns and sometimes at once, luridly seductive and darkly comic and physically revolting — a movie that makes you want to laugh and cry and retch and run out of the theater, both to escape the awful things the film is showing you and to tell everyone you know that they need to see it, too.
    • 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.
    • 75 Metascore
    • 80 Dana Stevens
    The Weitz brothers -- notorious as the authors of the "American Pie" series -- handle the sentimentality of the story with a light, sweet touch.
    • 70 Metascore
    • 80 Dana Stevens
    The rapprochement between Rémy and Sébastien is beautiful to watch, and all of the characters in The Barbarian Invasions are played with a lusty warmth that makes them lovable even when they are being tiresome.
    • 75 Metascore
    • 80 Dana Stevens
    A passionate, angry piece of advocacy, but it is equally, and in consequence, a brave and necessary act of truth-telling.
    • 63 Metascore
    • 80 Dana Stevens
    A wise, gentle and sad new comedy by Zhang Yimou.
    • 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.
    • 86 Metascore
    • 80 Dana Stevens
    The Master is above all a love story between Joaquin Phoenix's damaged WWII vet, Freddie Quell, and Philip Seymour Hoffmann's charismatic charlatan, Lancaster Dodd. And that relationship is powerful and funny and twisted and strange enough that maybe that's all the movie needs to be about.
    • 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.
    • 68 Metascore
    • 80 Dana Stevens
    A slyly effective thriller and of a deft comedy of romantic confusion. Whatever its shortcomings as a consideration of globalization and its discontents, The Edukators succeeds brilliantly in telling the story of a man who falls in love with his best buddy's girlfriend and doesn't know what to do about it.
    • 79 Metascore
    • 80 Dana Stevens
    This frank, funny, tender film both asks and receives more from its sex scenes than any movie I've seen in a long time.
    • 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.
    • 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.
    • 87 Metascore
    • 80 Dana Stevens
    The interest of To Be and to Have, though, is not sociological: it is not really about the French educational system, rural life or even the way children learn. It is, rather, the portrait of an artist, a man whose work combines discipline and inspiration and unfolds mysteriously and imperceptibly.
    • 78 Metascore
    • 80 Dana Stevens
    This Much Ado About Nothing — while perhaps not an adaptation for the ages in every respect — is as bracingly effervescent as picnic champagne.
    • 82 Metascore
    • 80 Dana Stevens
    Certified Copy isn't the masterpiece that "Close-Up" was, but it lures the viewer into a comparably labyrinthine thicket of fakeouts, doubles, and assumed identities. If you like movies that induce a pleasurable state of vertigo, this is one of the great discoveries of the year.
    • 73 Metascore
    • 80 Dana Stevens
    Mr. Boyle has hardly lost his sly, provocative perversity or his ear for the rhythms of unchecked violence, but he does seem to be maturing. It's as if, in contemplating the annihilation of the human race, he has discovered his inner humanist.
    • 82 Metascore
    • 80 Dana Stevens
    This is a supremely well-executed piece of popular entertainment that is likely to linger in your mind and may even trouble your conscience.
    • 63 Metascore
    • 80 Dana Stevens
    An unadorned, unsparing chronicle of a young man's descent into a nightmare of delusion, paranoia and self-destructive behavior.
    • 65 Metascore
    • 80 Dana Stevens
    With tact and enthusiasm, Mr. Polanski grabs hold of a great book and rediscovers its true and enduring vitality.
    • 73 Metascore
    • 80 Dana Stevens
    A cautionary essay on the risks to democracy posed by the fight against terrorism.
    • 82 Metascore
    • 80 Dana Stevens
    This movie’s human scale, its unaffected compassion for every one of its far-from-perfect characters, is what kept me on its side throughout.
    • 73 Metascore
    • 80 Dana Stevens
    The result is a mountain of honest, nourishing corn, a lavish evocation of simplicity that, for all its showy sophistication, has an appealing emotional directness. For all its sweep and scope and movie-star magic, Cold Mountain is studded with fine small moments and deft supporting performances.
    • 76 Metascore
    • 80 Dana Stevens
    Fukunaga's vision of Jane Eyre is refreshingly un-Gothic. Though all the story elements are in place for a thunder-on-the-moors-style gloomfest (and though there are, in fact, several thunderstorms on moors), this film is low on Romantic atmospherics and flooded with natural light.
    • 76 Metascore
    • 80 Dana Stevens
    With its restricted one-night timeframe and a setting that rarely expands beyond the walls of the firm, Margin Call can feel like a dramatized version of those ubiquitous 2008 news photos of white men staring in horror at numbers on a screen. But in its best moments, this film reminds us that every one of those pictures contained its own story of compromise, corruption, and ruin.
    • 94 Metascore
    • 80 Dana Stevens
    In the quietly devastating Amour, Haneke's cool, dispassionate gaze feels, for the first time, something like love.
    • 71 Metascore
    • 80 Dana Stevens
    The film has a richer, more various visual texture than most documentaries, combining still photographs, black-and-white video and Super-8 film, sometimes with wild sound or none at all.
    • 73 Metascore
    • 80 Dana Stevens
    Hardly a work of state-of-the-art virtuosity, but rather an example of quiet, confident craftsmanship that tells a sweet, charming tale of intergalactic friendship.

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