For 287 reviews, this critic has graded:
  • 29% higher than the average critic
  • 1% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 13 points lower than other critics. (0-100 point scale)

Dennis Lim's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Donnie Darko: The Director's Cut
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 84 out of 287
  2. Negative: 93 out of 287
287 movie reviews
    • 64 Metascore
    • 30 Dennis Lim
    Airy, pseudo-folkloric gibberish at best.
    • 30 Metascore
    • 30 Dennis Lim
    You have to, if not love, at least not mind a movie in which the very act of Ashton Kutcher reading is enough of a cosmic trauma to rip a hole in the fabric of space-time.
    • 52 Metascore
    • 30 Dennis Lim
    The wall-to-wall rap score is as kinetic as the acrobatic fight choreography, and nothing else matters.
    • 63 Metascore
    • 30 Dennis Lim
    Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
    • 69 Metascore
    • 30 Dennis Lim
    After simmering for an eternity, it derails, with spectacular, psychotic force, bulldozing its way toward an almost unwatchable theater of cruelty.
    • 52 Metascore
    • 30 Dennis Lim
    It's been smoothed over plenty, but this is one creaky, rigged contraption.
    • 53 Metascore
    • 30 Dennis Lim
    Amid numerous identical skirmishes with leapfrogging arachnids, trace elements of black comedy and intentional camp are discernible but utterly extraneous.
    • 40 Metascore
    • 30 Dennis Lim
    A more intuitive writer-director could have extracted a credible study of time-warped bereavement from Jennifer Egan's extensively praised novel, but Adam Brooks's turgid adaptation merely emphasizes the book's stiff contrivances and wobbly characterizations.
    • 35 Metascore
    • 30 Dennis Lim
    Doesn't just look and sound like a car commercial. It is a car commercial.
    • 26 Metascore
    • 30 Dennis Lim
    Not content simply to examine the relationship between sex and death, BI2 ponderously blurs the boundaries between art and life, and the plot, already mired in nonsensical backstory, collapses with the late-inning introduction of a tired metafictional device (not to mention a wildly lunging "Usual Suspects" twist).
    • 47 Metascore
    • 30 Dennis Lim
    Steals every trick in the gaysploitation book down to the Alexis Arquette glorified cameo, but the end result -- compulsively horrible and full of unintentional poignant hilarity -- is its own mutant creature.
    • 39 Metascore
    • 30 Dennis Lim
    The characters exist in single dimensions (trapped in a noxiously misogynist role, even the fearless Richard stands no chance), and in an effort to keep the plates spinning, the movie quickly devolves from risqué to risible.
    • 42 Metascore
    • 30 Dennis Lim
    The viewer is left to ponder the number of levels on which this counts as a pointless exercise -- a parody of parodic movies, a deconstruction of transparent genres, a self-negatingly knowing example of camp.
    • 37 Metascore
    • 30 Dennis Lim
    The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
    • 29 Metascore
    • 30 Dennis Lim
    No amount of fidgety editing and anxious soundtrack atonality can distract from the creakingly implausible scenario (Marsden's Dan is an almost comic exemplar of uncharacteristic hostage behavior).
    • 60 Metascore
    • 30 Dennis Lim
    Watching the film is like reading a Times Portrait of Grief that keeps shifting focus to the journalist who wrote it.
    • 46 Metascore
    • 30 Dennis Lim
    Oblivious to its own towering obsolescence.
    • 56 Metascore
    • 30 Dennis Lim
    The filmmakers at once coarsen and dilute a fascinating life into a lumpy puddle of punishing inspirational hokum.
    • 46 Metascore
    • 30 Dennis Lim
    Thomas's fleet-footed approach suggests the anxious embarrassment of a director in an awful hurry to get it over with.
    • 45 Metascore
    • 30 Dennis Lim
    Denying Reality, more like. John Keitel's first feature is impossibly naive, even as smoothed-over coming-out tales go.
    • 46 Metascore
    • 30 Dennis Lim
    In its own dimly reckless way, the film is riveting -- not unlike watching a tightrope walker with a bad case of vertigo.
    • 53 Metascore
    • 30 Dennis Lim
    Time and again words fail Weber. He's a loquacious but unilluminating host.
    • 61 Metascore
    • 30 Dennis Lim
    It's hard to say if this devastating, nakedly exploitative work has a larger point beyond the evocation and infliction of trauma. A repeat viewing might clear that up, but it's an experience I'd rather not relive -- and one that I cannot in good faith recommend to anyone.
    • 64 Metascore
    • 30 Dennis Lim
    The ultimate cliché of plot-twist implausibility, the crucial revelation is so outlandishly fatuous it might have given Donald Kaufman pause.
    • 52 Metascore
    • 30 Dennis Lim
    It lacks the coherent internal logic that distinguishes the best mockumentaries.
    • 33 Metascore
    • 30 Dennis Lim
    This monumentally ridiculous film doesn't stop at subverting stereotypes; it discombobulates narrative logic and the basic laws of human behavior. Still, there's a certain pleasure to be derived from watching the actors attempt to dig out from under the rubble that William Lipz's screenplay repeatedly dumps on their heads.
    • 32 Metascore
    • 30 Dennis Lim
    A ponderous, almost wordless sliver of grotesquerie.
    • 43 Metascore
    • 30 Dennis Lim
    Pressing on in grimly introverted "One Hour Photo" mode, Williams only stirs nostalgia for his slapstick days (ghastly '90s roles notwithstanding)--he's such a natural-born ham he manages to overdo understatement.
    • 66 Metascore
    • 30 Dennis Lim
    It is not, the filmmakers stress, a sequel to "Four Weddings and a Funeral" (which writer Richard Curtis was also responsible for), but it fits the latter-day Hollywood definition of the term -- same movie, only worse.
    • 39 Metascore
    • 30 Dennis Lim
    Peaks early with a vertiginous dogfight; thereafter, spotty CGI and a bamboozling plot conspire toward a colossal anticlimax.

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