Dana Schwartz

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For 11 reviews, this critic has graded:
  • 72% higher than the average critic
  • 9% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 6.2 points higher than other critics. (0-100 point scale)

Dana Schwartz's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 91 The Seagull
Lowest review score: 33 The Darkest Minds
Score distribution:
  1. Positive: 7 out of 11
  2. Negative: 1 out of 11
11 movie reviews
    • 39 Metascore
    • 33 Dana Schwartz
    There is no resolution for any of the story lines haphazardly dangling like electrical wires. No villain is defeated, no secrets are explained. When the credits roll, there has been no catharsis for the 90 minutes of movie preceding it, which makes it all feel like a protracted introductory sequence for a sequel that, god willing, will never come.
    • 69 Metascore
    • 83 Dana Schwartz
    The meta jokes flow like Mountain Dew — this is a rollicking, goofy superhero send-up that never overstays its welcome.
    • 63 Metascore
    • 91 Dana Schwartz
    Far from a perfect film — the morals are clunky, the pacing awkward at points — Damsel still manages to achieve the rare distinction of being both ambitious and just so much goddam fun.
    • 66 Metascore
    • 67 Dana Schwartz
    One imagines the real John Callahan, who died in 2010, would have appreciated a film that wasn’t afraid to call him an a—hole
    • 54 Metascore
    • 58 Dana Schwartz
    Where the Purge movies could have been about the slow — and then terrifyingly rapid — dismissal of morality and social norms, like "High-Rise," it chooses instead to skate through those haunted house scares and clunky symbolism.
    • 62 Metascore
    • 75 Dana Schwartz
    The true strength of the film lies in Zoey Deutch’s magnetic performance. It’s impossible to watch this film and not come to the conclusion that the actress (Vampire Academy) is a soon-to-be major star, as soon as she hits on a major project that makes use of her effortless humor and charisma.
    • 67 Metascore
    • 83 Dana Schwartz
    It is not a thriller nor even, really, a mystery. Instead, much like a play, it forces you to pay attention to the nuances of each of the actors’ (very well-done) performances, to sit with the characters quietly as if in a sitting room too formal to do much else.
    • 66 Metascore
    • 42 Dana Schwartz
    As a movie, it’s the cinematic equivalent of paint-by-numbers: competent, attractive even, but take a single step closer and the lines peek through. There’s no need to pay money to go see Upgrade: If you select it on a plane and sleep through 60% of it, you’ve seen it in its entirety.
    • 59 Metascore
    • 91 Dana Schwartz
    The Seagull is lush and dreamlike, leaving the drawing room for lake, field, and forest. Though we lose some of Chekhov’s claustrophobic talkiness, the dense poetry of his language, Mayer fully captures Chekhov’s sharp humor.
    • 39 Metascore
    • 58 Dana Schwartz
    Krystal feels like the result of an elaborate blunder wherein three different scripts were accidentally shuffled together and then — presumably through a series of hijinks — the director accidentally shot it all straight through.
    • 70 Metascore
    • 83 Dana Schwartz
    With its de-saturated grays and layered textures, Final Portrait itself is like a still portrait of Giacometti. You, as the viewer, are lucky just to get to spend time with these men during twenty or so days in their lives, privileged to be allowed inside Giacometti’s studio, watching the painting come together.

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