For 1,096 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 2.4 points higher than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Mystic River
Lowest review score: 0 The Nutcracker
Score distribution:
1,096 movie reviews
    • 75 Metascore
    • 80 Dana Stevens
    The next two hours might not have quite delivered on that initial promise of wonder - we grown-ups, being heavy, are not so easily swept away by visual tricks - except when I looked away from the screen at the faces of breathless and wide-eyed children, my own among them, for whom the whole experience was new, strange, disturbing and delightful.
    • 83 Metascore
    • 80 Dana Stevens
    While this film can seem politically simplistic, it is nonetheless psychologically astute, and more complicated than it at first appears.
    • 73 Metascore
    • 80 Dana Stevens
    A cautionary essay on the risks to democracy posed by the fight against terrorism.
    • 68 Metascore
    • 80 Dana Stevens
    Unpretentious, smartly written and a lot of fun.
    • 65 Metascore
    • 80 Dana Stevens
    Mixing pop savvy with startling formal ambition, Mr. Mann transforms what is essentially a long, fairly predictable cop-show episode into a dazzling (and sometimes daft) Wagnerian spectacle.
    • 70 Metascore
    • 80 Dana Stevens
    At first House of Sand may seem like a stark tale of survival, but a surprisingly lush and colorful romance blossoms in its bleak and gorgeous desert setting.
    • 75 Metascore
    • 80 Dana Stevens
    Feisty, intellectually engaging.
    • 66 Metascore
    • 80 Dana Stevens
    What distinguishes the film from its many peers is the quality of Ms. Collyer’s writing -- which rarely reaches for obvious, melodramatic beats -- and the precision of Ms. Gyllenhaal’s performance. She treats the character neither as a case study nor as an opportunity to show off her range, but rather as a completely ordinary and therefore arrestingly complicated person.
    • 65 Metascore
    • 80 Dana Stevens
    With a woman-with THIS woman-all the invincible-spy clichés feel fresh and fun again.
    • 69 Metascore
    • 80 Dana Stevens
    A package of cinematic Pop Rocks, a neon-hued, defiantly non-nutritive confection that nonetheless makes you laugh at its sheer bold novelty.
    • 76 Metascore
    • 80 Dana Stevens
    Soul Kitchen is sprawling, undisciplined, raucous, occasionally crass-and so full of life you forgive it everything.
    • 61 Metascore
    • 80 Dana Stevens
    If you're willing to let go of your Hollywood-bred expectations for a movie of this type-spectacular action set pieces, constant pulse-pounding music, a killing every 15 minutes-The American is a great pleasure to watch, an astringent antidote to the loud, frantic action movies that have been clogging our veins all summer.
    • 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.
    • 65 Metascore
    • 80 Dana Stevens
    This installment is all about the grown-up kids. The three young leads - especially Emma Watson, who can do more with a still face than any actress her age - are all terrific
    • 68 Metascore
    • 80 Dana Stevens
    The very existence of Four Lions is an act of audacity; the fact that it's also smart, humane, and frequently hilarious is nothing short of a miracle.
    • 49 Metascore
    • 80 Dana Stevens
    Feels fresh and satisfying. Maybe it's the presence of Jason Statham, the British action star who has a physicality like no other actor out there right now.
    • 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.
    • 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.
    • 85 Metascore
    • 80 Dana Stevens
    This is a grippingly original work, with gorgeous cinematography by Christopher Blauvelt, and the first hour or more achieves something like greatness.
    • 76 Metascore
    • 80 Dana Stevens
    Submarine isn't a perfect film, but it's a terrific first one.
    • 87 Metascore
    • 80 Dana Stevens
    It's always hard to predict how a work of art will age over time, but I have the feeling that, like its three young leads, the Harry Potter series will turn out just fine.
    • 74 Metascore
    • 80 Dana Stevens
    Tabloid is the perfect movie for that night when you can't decide whether to see something low- or highbrow. It's seamlessly and satisfyingly both.
    • 66 Metascore
    • 80 Dana Stevens
    Captain America isn't a masterpiece, but it's a solidly crafted, elegant adventure movie that held my attention from start to finish and sent me out into the street energized instead of enervated.
    • 68 Metascore
    • 80 Dana Stevens
    Whereas the original was a work of speculative science fiction - a chin-stroking fable about evolution in the nuclear age - this revisiting of the Planet of the Apes myth is an animal-rights manifesto disguised as a prison-break movie.
    • 78 Metascore
    • 80 Dana Stevens
    Though both highly stylized and highly stylish, Drive isn't hurting for substance. It has rich, complex characters and a storyline that's both emotionally engaging and almost sickeningly suspenseful.
    • 87 Metascore
    • 80 Dana Stevens
    It's to the director's credit, and Pitt's, that Moneyball is anything but bloodless - in its own quiet, unspectacular way, this movie courses with life.
    • 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.
    • 76 Metascore
    • 80 Dana Stevens
    Certainly the most genteel film Cronenberg has ever made, with period costumes worthy of Merchant/Ivory, no gore, and very little physical violence. But A Dangerous Method doesn't feel like a wimp-out or a sell-out at all. It's a fiercely thoughtful film, a movie of ideas that understands how powerful ideas can be.
    • 75 Metascore
    • 80 Dana Stevens
    Like Statler and Waldorf, older viewers may kvetch and cavil about the details, but when that red velvet curtain goes up, we wouldn't give up our balcony seats for the world.
    • 85 Metascore
    • 80 Dana Stevens
    The film's best moments are the quiet ones in which Oldman's ironically named Smiley provides the story with its wise, unsmiling soul.

Top Trailers