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 King Kong
Lowest review score: 0 State Property
Score distribution:
1157 movie reviews
    • 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.
    • 71 Metascore
    • 80 Dana Stevens
    Streep, who has long enjoyed playing women endowed with more than the average supply of gusto, makes the character’s delusional faith in her own talent so infectious that we ache at the thought of Florence’s impending humiliation even as we prepare ourselves to laugh at it.
    • 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.
    • 70 Metascore
    • 80 Dana Stevens
    Rather than assaulting you with self-congratulatory tears, it leaves you with a bittersweet glow of wisdom and an appreciation of the small triumphs and difficult labors of love.
    • 73 Metascore
    • 80 Dana Stevens
    At its best, L.I.E. offers a rich, dark, bitter slice of contemporary life. But the film's arty embellishments undermine its bleak vision, making it, in the end, a little too easy to take.
    • 83 Metascore
    • 80 Dana Stevens
    Though it’s just slightly over two hours long, The Wind Rises has the historical sweep of a David Lean picture, complete with panoramic shots of migrating populations against a background of disaster and a romantic orchestral score by Miyazaki’s longtime musical collaborator, Joe Hisaishi.
    • 95 Metascore
    • 80 Dana Stevens
    The Social Network wants to be a social satire, a miniaturist comedy of manners, and a Greek tragedy; it bites off a lot, at times more than it can chew. But even the unmasticated morsels are pretty tasty.
    • 79 Metascore
    • 80 Dana Stevens
    Based on a horrifying real-life case that took place in the Moldavia region of Romania in 2005, Beyond the Hills can be seen as both a critique of patriarchal religious systems and an allegory about the tension between secularism and faith (as well as a precisely and painfully observed portrait of one particular friendship).
    • 81 Metascore
    • 80 Dana Stevens
    Her (Reichardt's) juxtaposition of imponderably vast landscapes and regular-scale individual lives is what gives Certain Women its mood at once of delicate restraint and of moral gravity.
    • 83 Metascore
    • 80 Dana Stevens
    As an intimate chamber piece with pitch-dark subject matter, James White could only avoid bathos by featuring two actors at the top of their game, alive not only to the inner worlds of their own characters but to the shared world they both know they’re on the brink of losing.
    • 66 Metascore
    • 80 Dana Stevens
    The movie itself triumphs by similar means; it is a marvel of unleashed childishness, like a birthday party on the edge of spinning out of control.
    • 78 Metascore
    • 80 Dana Stevens
    It skips from buoyant satire to domestic melodrama, leaving behind a curious mix of emotions.
    • 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
    Submarine isn't a perfect film, but it's a terrific first one.
    • 76 Metascore
    • 80 Dana Stevens
    An investigation, at once lucid and enigmatic, of exile, loneliness and the fragile possibility of friendship.
    • 75 Metascore
    • 80 Dana Stevens
    Feisty, intellectually engaging.

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