For 1,186 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 0.1 points lower than other critics. (0-100 point scale)

Dana Stevens' Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 A Mighty Wind
Lowest review score: 0 Salinger
Score distribution:
1186 movie reviews
    • 76 Metascore
    • 80 Dana Stevens
    The Guest isn’t here to deliver an earnest social message about the state of veterans’ affairs. Instead, the way good horror movies do, it channels our collective fear, guilt, and rage by creating a monster.
    • 74 Metascore
    • 70 Dana Stevens
    I found The Skeleton Twins merely entertaining, but I’d love to see these two actors team up again, Tracy-and-Hepburn style, and make a string of movies together — maybe some that would venture further into the post–rom-com territory this one begins to explore.
    • 82 Metascore
    • 80 Dana Stevens
    Lithgow and Molina play Ben and George with such depth, tenderness, and history that their affection for one another’s bodies (there’s no sex, but loads of snuggling) seems like a natural extension of their pleasure in being together.
    • 75 Metascore
    • 70 Dana Stevens
    Fassbender spending nearly an entire movie obscured by a giant fake head is such a had-me-at-hello idea that it’s disappointing that Frank never plumbs the fascinating questions it raises about performance, group dynamics, and mental health.
    • 77 Metascore
    • 70 Dana Stevens
    Calvary gives Gleeson ample opportunity to explore his talent for anchoring a movie, making it deeper and richer than the script and direction might otherwise allow.
    • 61 Metascore
    • 50 Dana Stevens
    An entertainment choice I wouldn’t recommend, but one you might not regret if you dial your expectations down (or your drug intake up).
    • 36 Metascore
    • 40 Dana Stevens
    Sex Tape, conversely, is as timid, bland, and predictable as romantic comedies come — though it’s a hard movie to hate entirely.
    • 100 Metascore
    • 100 Dana Stevens
    Boyhood reimagines the coming-of-age film as family album, longitudinal character study, and collaborative artistic experiment — a mad risk that paid off in a movie that’s as transcendent as it is ordinary, just like life.
    • 60 Metascore
    • 60 Dana Stevens
    This rough-edged parody feels both distinctive and handmade, and for those reasons alone it’s a hard movie to hate, even when it temporarily loses its comic footing. Anyway, as romantic comedies down the ages have taught us, hatred is just a latent form of love.
    • 69 Metascore
    • 80 Dana Stevens
    Above all else, Venus in Fur is a sharp, sexy comedy (adapted by Ives and Polanski from a translation by Abel Gerschenfeld) performed by two superb and superbly in-tune actors, and directed with a sure hand by a filmmaker who’s clearly not cowed by the challenge of blowing up a two-person chamber piece for the screen.
    • 69 Metascore
    • 50 Dana Stevens
    For all the film’s best intentions — and a finely tuned performance from the ever-better Woodley — for me The Fault in Our Stars never entirely found its way out of Sparks territory.
    • 76 Metascore
    • 80 Dana Stevens
    There's something old-Hollywood about Slate's dizzy-dame charm, and at the same time, something very modern about her unapologetic ownership of her own sexuality.
    • 75 Metascore
    • 80 Dana Stevens
    A slow-burning suspense thriller about a trio of eco-terrorists conspiring to blow up a dam, it’s directed by Reichardt with the concision and elegance of a chess master.
    • 56 Metascore
    • 70 Dana Stevens
    This is really a movie about the evil spell Jolie casts on us — it’s both a celebration and a demonstration of her formidable movie star might.
    • 75 Metascore
    • 80 Dana Stevens
    Days of Future Past is the kind of extravagant production that sweeps you up in a sense of mythic grandeur even as you struggle to follow what’s going on.
    • 62 Metascore
    • 70 Dana Stevens
    You don’t go see a 2014 Godzilla reboot for the delicate character shadings and plausible story structure. You go to watch a giant radioactive lizard whale on stuff, and on that score, Godzilla does its work.
    • 77 Metascore
    • 70 Dana Stevens
    I wanted to fall under this movie’s spell as if watching one of those early 20th-century immigrant melodramas — instead, it felt like visiting a meticulously appointed but too-tidy historical museum.
    • 68 Metascore
    • 80 Dana Stevens
    Byrne, who played a tightly wound control freak to perfection in "Bridesmaids," here gets a chance to bust loose. In a late sequence where she frantically spearheads a multipart mission to bring down Delta Psi from the inside, Byrne makes you wish someone would write a big, broad, raunchy comedy just for her.
    • 91 Metascore
    • 100 Dana Stevens
    Ida
    There’s an urgency to Ida’s simple, elemental story that makes it seem timely, or maybe just timeless.
    • 53 Metascore
    • 20 Dana Stevens
    The project as a whole conveys a drab sense of bureaucratic necessity, a "let's get this over with" wheeziness.
    • 77 Metascore
    • 80 Dana Stevens
    Blue Ruin is a Clint Eastwood vigilante fantasy with an anti-Clint at its center—small-statured, round-faced, nervous Dwight (Macon Blair), whose burning desire to avenge the long-ago murder of his parents doesn’t make him one whit less terrified of actually doing it.
    • 42 Metascore
    • 40 Dana Stevens
    Transcendence is nowhere near as elegant, witty, or insightful as "Her." Pfister and the screenwriter, Jack Paglen, grapple ponderously, sometimes oafishly, with the ethical and philosophical issues at stake in the film’s premise.
    • 59 Metascore
    • 80 Dana Stevens
    The revelation of Hateship Loveship is the casting of Kristen Wiig, who effortlessly makes the shift from comedian to straight dramatic actress in a role full of potential ego traps that she never falls into.
    • 70 Metascore
    • 50 Dana Stevens
    The most memorable element of The Winter Soldier, besides Redford, is probably Scarlett Johansson, whose dryly funny Natasha at times comes perilously close to being … a well-developed female character?
    • 61 Metascore
    • 50 Dana Stevens
    There’s something sour and strained about this movie that’s at odds with the usual Muppet ethos of game, let’s-put-on-a-show cheer. Maybe that’s because of the inordinate amount of screen time spent on the rivalry between two villains who are as uninteresting as they are unpleasant.
    • 64 Metascore
    • 40 Dana Stevens
    Occasionally, real dramatic scenes will spring from the loamy soil of von Trier’s free-wandering fantasy. But they’re isolated sketches, little one-act plays in the theater of degradation.
    • 88 Metascore
    • 70 Dana Stevens
    As played with a melancholy rakishness by the handsomer-than-ever Fiennes, M. Gustave is one of Anderson’s more memorable creations—but he’s stranded in a movie that, for all its gorgeous frills and furbelows... never seemed to me to be quite sure what it was about.
    • 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.
    • 52 Metascore
    • 50 Dana Stevens
    Neither Alex Murphy’s internal moral conflict nor the larger, vaguely satiric portrait of a global culture dependent on high-tech law enforcement seem to be the main point of this Robocop remake, which raises the question of what is meant to be the point.
    • 52 Metascore
    • 50 Dana Stevens
    A sluggish romantic drama

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