For 1,095 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 2.3 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Bridesmaids
Lowest review score: 0 Sorority Boys
Score distribution:
1,095 movie reviews
    • 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.
    • 64 Metascore
    • 80 Dana Stevens
    Mr. Hogan understands both themes, and his filmmaking style is a perfect mixture of wide-eyed wonder and slightly melancholy sophistication.
    • 73 Metascore
    • 80 Dana Stevens
    For all its echoes of Frank Capra and Charlie Chaplin (as well as Ford), the movie is also a love letter to modern Tokyo, whose alleyways and skyscrapers are drafted with flawless precision and tinted with tenderness and warmth.
    • 62 Metascore
    • 80 Dana Stevens
    The Dreamers, which is disarmingly sweet and completely enchanting, fuses sexual discovery with political tumult by means of a heady, heedless romanticism that nearly obscures the film's patient, skeptical intelligence.
    • 80 Metascore
    • 80 Dana Stevens
    Very much a writer's film: Mr. Schickel's elegant, occasionally knotty prose, read by Sidney Pollack, offers a clear, nuanced interpretation of the artist's work in relation to his life.
    • 70 Metascore
    • 80 Dana Stevens
    Poignant though it is, the movie is the opposite of depressing. There is too much life in it.
    • 52 Metascore
    • 80 Dana Stevens
    There is really no other way to categorize this splendid, crotchety artifact.
    • 69 Metascore
    • 80 Dana Stevens
    Like its humor, the film's sentiment sneaks up on you, and so does the dramatic reversal that makes it something more than a collection of wry anecdotes.
    • 78 Metascore
    • 80 Dana Stevens
    Like most great musicals, though, this one slides, with breathtaking ease, from silliness to pathos and freely mixes exquisiteness and absurdity.
    • 79 Metascore
    • 80 Dana Stevens
    Whatever your opinions about the war, the conduct of the journalists who covered it and the role of Al Jazeera in that coverage, you are likely to emerge from Control Room touched, exhilarated and a little off-balance, with your certainties scrambled and your assumptions shaken.
    • 82 Metascore
    • 80 Dana Stevens
    This film may disappoint some dogmatic Old Hogwartsians: a few plot points have been sacrificed, and Mr. Cuarón does not seem to care much for Quidditch. But it more than compensates for these lapses with its emotional force and visual panache.
    • 79 Metascore
    • 80 Dana Stevens
    Watching The Five Obstructions is at once like witnessing two chess masters playing dominoes and like spying on a series of therapy sessions. Mr. von Trier clearly sees himself as a maniacal psychoanalyst.
    • 75 Metascore
    • 80 Dana Stevens
    Like many musicals, The Blind Swordsman works better in individual scenes than as a whole. Mr. Kitano is not the most disciplined storyteller, and the plot meanders along tangents and stumbles into flashbacks, losing momentum for long stretches in the middle.
    • 64 Metascore
    • 80 Dana Stevens
    Like a dream within a dream. Its images and emotions are vivid, disquieting and also hermetic, and while it may frustrate your desire for clear storytelling and psychological transparency, it has an intensity that surpasses understanding.
    • 90 Metascore
    • 80 Dana Stevens
    The script of Before Sunset is both rambling and self-conscious, and at times it has the self-important sound of clever writing. But though it is sometimes maddening, the movie's prodigious verbiage is also enthralling.
    • 66 Metascore
    • 80 Dana Stevens
    Compassionate though it is, this is not a movie that offers much in the way of solace. It insists that there is no end to human weakness, and not much cure for it either. That's pretty strong stuff.
    • 64 Metascore
    • 80 Dana Stevens
    Waugh's dialogue, effortlessly catching the lockjaw intonations and facetious mannerisms of the British aristocracy between the world wars, is a gift to screenwriters and performers alike. The actors Mr. Fry has assembled receive the gift with gusto and grace.
    • 66 Metascore
    • 80 Dana Stevens
    It has a familiar, lived-in feel, and if its observations of rural life at a time of political turmoil don't feel terribly original, they are nonetheless absorbing and sometimes powerful.
    • 64 Metascore
    • 80 Dana Stevens
    Clever comedians that they are, they have also rigged Team America with an ingenious anti-critic device, which I find myself unable to defuse. Much as it may pretend otherwise, the movie has an argument, but if you try to argue back, the joke's on you.
    • 50 Metascore
    • 80 Dana Stevens
    Without Ms. Kidman's brilliantly nuanced performance, Birth might feel arch, chilly and a little sadistic, but she gives herself so completely to the role that the film becomes both spellbinding and heartbreaking, a delicate chamber piece with the large, troubled heart of an opera.
    • 77 Metascore
    • 80 Dana Stevens
    The Big Red One, for all its uncompromising brutality, is viscerally, angrily alive. Fuller was lucky to survive the war. It is our good fortune that this film, a tribute to his luck (and to those who did not share it), has come back to life.
    • 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.
    • 75 Metascore
    • 80 Dana Stevens
    Mr. Corneau, an eclectic director with a mildly perverse sensibility, turns the conflict of cultures into a psychodrama that is at once lighthearted and intense.
    • 69 Metascore
    • 80 Dana Stevens
    Mr. Jaa, blessed with astonishing muscle definition and a stoical, sensitive face, clearly has the potential to be an international action movie star, and Ong-Bak feels like the start of a scrappy, potent franchise.
    • 68 Metascore
    • 80 Dana Stevens
    Mr. Lou synthesizes a wide range of styles and influences - from "Casablanca" to Wong Kar-wai - resulting in a movie that, for all its haunting strangeness, seems curiously familiar.
    • 89 Metascore
    • 80 Dana Stevens
    A gorgeous entertainment, a feast of blood, passion and silk brocade. But though the picture is full of swirling, ecstatic motion, it is not especially moving.
    • 62 Metascore
    • 80 Dana Stevens
    The actor's (Murray) quiet, downcast presence modulates the antic busyness that encircles him, and his performance is a triumph of comic minimalism.
    • 90 Metascore
    • 80 Dana Stevens
    Because it is so visually splendid and ethically serious, the movie raises hopes it cannot quite satisfy. It comes tantalizingly close to greatness, but seems content, in the end, to fight mediocrity to a draw.
    • 78 Metascore
    • 80 Dana Stevens
    The resulting film is moving, charming and sad, a tribute to Ms. Briski's indomitability and to the irrepressible creative spirits of the children themselves.
    • 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.

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