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 13.1 points lower than other critics. (0-100 point scale)

Dennis Lim's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 Last Days
Lowest review score: 0 Love, Honor and Obey
Score distribution:
  1. Positive: 84 out of 287
  2. Negative: 93 out of 287
287 movie reviews
    • 72 Metascore
    • 60 Dennis Lim
    It's doubly frustrating that after flirting with (and even upending) biopic conventions for much of its length, A Beautiful Mind finally gives in to them so readily.
    • 46 Metascore
    • 60 Dennis Lim
    Stevenson's performance is at once clueless and fiercely committed, a volatile combination that pays off in the best scene: the mother of all PFLAG meetings.
    • 34 Metascore
    • 60 Dennis Lim
    There are worse crimes being perpetrated in Hollywood than The Real Cancún--an exploitation fantasy no more booby-besotted than a "Porky's" or "American Pie" installment, and certainly no more unreal.
    • 58 Metascore
    • 60 Dennis Lim
    Good-natured but labored, the film clings to its lone gimmick with increasing desperation.
    • 73 Metascore
    • 60 Dennis Lim
    Mariage takes his time and allows the film to drift in an almost ostentatiously casual manner.
    • 79 Metascore
    • 60 Dennis Lim
    Anyone expecting the decorous serenity of the Ang Lee film should be aware that Iron Monkey strives for no more or less than comic-strip thwack and thump.
    • 67 Metascore
    • 60 Dennis Lim
    Still most easily defined by its unavoidable parallels to any number of lesbian-overtone psychodramas.
    • 55 Metascore
    • 60 Dennis Lim
    S&H's chief pleasure is the spontaneous, sometimes quite touching rapport between the two stars.
    • 31 Metascore
    • 60 Dennis Lim
    It's a kick to see the Tim Robbins version of the man recently described by the Microsoft trial judge as "Napoleonic" installed in a disgustingly opulent Bond-villain HQ/pad, and the overwrought Boiler Room-meets-The Game scenario is not without its own schlocky pleasures.
    • 64 Metascore
    • 60 Dennis Lim
    AKA
    Cumulatively, the echo-chamber syntax achieves a kind of atonal harmony, meshing with the themes of reinvention and self-presentation: The disjunction between the panels is tantamount to the gap between image and reality.
    • 75 Metascore
    • 60 Dennis Lim
    Solid middlebrow entertainment, a vast period epic with an almost DeMillean taste for excess.
    • 54 Metascore
    • 60 Dennis Lim
    There's plenty to enjoy -- in no small part thanks to Lau.
    • 46 Metascore
    • 60 Dennis Lim
    The central conceit is Allen's most amusing since "Bullets Over Broadway."
    • 73 Metascore
    • 60 Dennis Lim
    The cumulative effect is perversely deflationary: long before it's over, the film has flushed the paranoia from its system.
    • 57 Metascore
    • 60 Dennis Lim
    The Haases, whose previous films ("Angels and Insects," "The Music of Chance") evinced a remote, unfussy sensibility, are a poor fit for the melodramatic contortions that the story demands.
    • 71 Metascore
    • 60 Dennis Lim
    Perhaps awed by the congress of Method men, director Frank Oz stands back as his actors phone it in.
    • 67 Metascore
    • 60 Dennis Lim
    Essentially humorless, Me Without You manages some pleasing textures all the same.
    • 50 Metascore
    • 60 Dennis Lim
    If Birth succeeds more as a source of visual and aural enthrallment than as supernatural narrative, it's largely because the final third hovers uncomfortably between the mystical and the earthbound.
    • 36 Metascore
    • 60 Dennis Lim
    More exciting and truthful than most better-looking films dare to be.
    • 67 Metascore
    • 60 Dennis Lim
    The film is slight but sweetly inquisitive, and its participants are endlessly fascinating.
    • 66 Metascore
    • 60 Dennis Lim
    Game Over's brazen lopsidedness may diminish its credibility, but it taps into the essence of all conspiracy theories-the desperate desire to believe.
    • 50 Metascore
    • 60 Dennis Lim
    This is pure essence of Bay--it's big, it's loud, it has no context, and if you show up tanked, I'm sure it's really quite poetic.
    • 65 Metascore
    • 60 Dennis Lim
    The mode is hysteric-Hitchcockian, the result mostly devoid of suspense.
    • 64 Metascore
    • 60 Dennis Lim
    A flabby farce in which everyone seems to be making it up as they go along.
    • 62 Metascore
    • 60 Dennis Lim
    Seinfeld's cool professionalism is almost cruelly juxtaposed with the tortured narcissism of heel-nipping tyro Orny Adams, who illustrates the mirror-image view from below. Comedy is pain, whether you're top- or underdog.
    • 69 Metascore
    • 60 Dennis Lim
    Smitten by the symmetry of his parable, director Roger Michell crosscuts emphatically between the preening leads -- a strategy that only draws attention to the numerous lapses in logic and unpersuasive changes of heart while sidelining the lively supporting cast
    • 67 Metascore
    • 60 Dennis Lim
    Boldly engineering a collision between tawdry B-movie flamboyance and grandiose spiritual anomie, Rose's film, true to its source material, provides a tenacious demonstration of death as the great equalizer.
    • 65 Metascore
    • 60 Dennis Lim
    Despite the agreeable lead performances, it's one of Loach's more forgettable films.
    • 66 Metascore
    • 60 Dennis Lim
    The scenario is stale but the actors are faultless.
    • 65 Metascore
    • 60 Dennis Lim
    To call Twelve and Holding cartoonish is to put it mildly. Marked by reckless tonal shifts, Anthony Cipriano's screenplay traffics in sensationalism and sentimentality.
    • 68 Metascore
    • 60 Dennis Lim
    Kormakur's debut feature fulfills the basic requirements of good slacker comedy: It's grounded in quotidian tedium and frustration, and it acknowledges both the humor and pathos of the relevant coping mechanisms (here, lackadaisical flings, porn addiction, amnesia-courting binges).
    • 52 Metascore
    • 60 Dennis Lim
    Lifshitz successfully maneuvers his trio of outcasts toward a state of grace: His vision of misfit utopianism, in its own quiet way, is as defiant as anything in Fassbinder.
    • 72 Metascore
    • 60 Dennis Lim
    Tumbles happily into every pitfall that lines its well-trodden path.
    • 41 Metascore
    • 60 Dennis Lim
    For a Ben Stiller rom-com, there's remarkably little pain and humiliation. Which, for the most part, is not a good thing.
    • 64 Metascore
    • 50 Dennis Lim
    John Madden's competent, monotonous film version, not exactly stagebound but hardly freewheeling, only underscores its mechanical nature.
    • 57 Metascore
    • 50 Dennis Lim
    This dreamy, languorous farce offers a manageable strawberry-flavored alternative, a mildly kinky Hello Kitty sadomasochism.
    • 59 Metascore
    • 50 Dennis Lim
    The movie avoids grand conclusions, and its restraint heightens the clarity of the perspective shifts that constitute a rite of passage; Nico and Dani is a modest chronicle of a summer during which everything had to change so that everything could stay the same.
    • 41 Metascore
    • 50 Dennis Lim
    At best, plays like an attenuated "Seinfeld" episode.
    • 60 Metascore
    • 50 Dennis Lim
    Mawkishly clichéd as it is, Together is an odder hybrid than it first appears -- at once populist and deeply cynical about the price of popularity.
    • 39 Metascore
    • 50 Dennis Lim
    Relying on rote culture-clash pratfalls, Gilfillan belabors the symmetries.
    • 59 Metascore
    • 50 Dennis Lim
    Tennant had hoped the documentary would serve as an "instrument of revenge" on Mustique's new owners. It's the filmmakers who end up exacting revenge on Tennant, gleefully recording his every splenetic outburst and infantile hissy fit.
    • 63 Metascore
    • 50 Dennis Lim
    A happy ending of sorts arrives out of nowhere -- against unfathomable odds, the string of awful ironies ends, for now, with sweet justice.
    • 71 Metascore
    • 50 Dennis Lim
    Neither as weighty nor as weird as it would like to think.
    • 51 Metascore
    • 50 Dennis Lim
    A reticent, primarily visual experience.
    • 62 Metascore
    • 50 Dennis Lim
    Soggy mysticism, nagging inconsistencies, and coarse horror-playbook jolts.
    • 70 Metascore
    • 50 Dennis Lim
    By the final shot, which assumes the viewpoint of a decapitated head, its appalled comedy has swelled, beyond outrage, to a pitch of punch-drunk hysteria.
    • 68 Metascore
    • 50 Dennis Lim
    Some of the testimonials are underedited, but as a work of passionate advocacy, I Remember Me can't be faulted.
    • 67 Metascore
    • 50 Dennis Lim
    Time to Leave amounts simply to a semi-thoughtful disease-of-the-week weepie, admirable in its restraint but shying from the terror of the situation.
    • 46 Metascore
    • 50 Dennis Lim
    For those so inclined, this lulling, banal, and rather pleasant film cultivates a mood of zone-out voyeurism. In the absence of a larger purpose, Morel is content to ogle, perhaps rightly assuming that his viewers will be too.
    • 82 Metascore
    • 50 Dennis Lim
    It's hard not to wish that Chicago had taken place inside a more imaginative head.
    • 81 Metascore
    • 50 Dennis Lim
    The time-outs from wisecracking -- invariably, to impart a simplistic self-esteem lesson or two -- feature the most awkward silences you're likely to endure in a comedy routine.
    • 61 Metascore
    • 50 Dennis Lim
    Even the fast-motion effects and flashy graphics can't make this a spectator sport.
    • 63 Metascore
    • 50 Dennis Lim
    Seeks to portray loss as a literal, convulsive nightmare, and it's not above resorting to horror-movie tropes and Grand Guignol trickery.
    • 50 Metascore
    • 50 Dennis Lim
    But owing no doubt to the requirements of Sandra Bullock, the movie's above-the-line star, executive producer, and worst enemy, this potboiling procedural never stands a chance of disproving its title.
    • 60 Metascore
    • 50 Dennis Lim
    Pitched somewhere between Oliver Stone's "JFK" and the Seinfeld parody thereof, Neil Burger's debut never quite transcends jokester status -- it's a veritable menagerie of shaggy dogs, red herrings, and wild geese -- and the punchline doesn't live up to Barry's dead-eyed, perfectly chilled delivery.
    • 50 Metascore
    • 50 Dennis Lim
    Flawless never approaches the rancid bluster of "8MM," but it's an equally dishonest piece of manipulative hackwork.
    • 70 Metascore
    • 50 Dennis Lim
    Bad Santa is a one-joke film; to his credit, Thornton embodies that joke with vicious, vaguely insane conviction.
    • 47 Metascore
    • 50 Dennis Lim
    A blitz of anti-authoritarian poses so feel-good you'd think someone was selling you sneakers.
    • 71 Metascore
    • 50 Dennis Lim
    It's instructive that Waking Ned Devine is being so aggressively sold as a feel-good comedy; the "good" feeling in question is called condescension.
    • 47 Metascore
    • 50 Dennis Lim
    Needless to say, the movie fails as a cautionary tale. But it fulfills its summer air-conditioning duties with flippant ease, and its enjoyably cloddish attempts at political relevance add a fascinating layer of incongruity.
    • 67 Metascore
    • 50 Dennis Lim
    Don Argott's lively documentary, ostensibly a paean to alternative pedagogy, extends its subject a long leash, and he in turn does his damnedest to sabotage the project. Rock School ends up being a movie about just how little fun rock 'n' roll can be.
    • 68 Metascore
    • 50 Dennis Lim
    Unfolds in a shroud of nonspecific suggestiveness but never emerges from under it.
    • tbd Metascore
    • 50 Dennis Lim
    Mad Songs saves its most memorable image for its hard-earned climax, which molds the ambiguous, hallucinatory spectacle of a combusting effigy into a viewer-implicating demonstration of crowd psychology and a harrowing cri de coeur.
    • 66 Metascore
    • 50 Dennis Lim
    Dog Days adheres dogmatically to the school of sado-miserablism that Seidl's compatriots Michael Haneke and Jessica Hausner have turned into something of a national industry (non-Austrian adherents abound too, from Gaspar Noé to Harmony Korine).
    • tbd Metascore
    • 50 Dennis Lim
    Culminates in a pilgrimage to Genet's tomb--a sweetly respectful gravestomp, to be sure, though one suspects the almost apologetic demureness of the central relationship would have irked him to no end.
    • 83 Metascore
    • 50 Dennis Lim
    The film never finds a confident tone: it's pitched as a satire, but seems to have no real targets.
    • 62 Metascore
    • 50 Dennis Lim
    If the movie feels cumbersome and overstuffed, it's because Egoyan's characters, so often aphasic, are this time driven by a compulsion to speak -- though the noisy tumble of words mostly underscores their failure to communicate.
    • 69 Metascore
    • 50 Dennis Lim
    Much of Undercover Brother plays as a funnier, if similarly addled, "Bamboozled."
    • 73 Metascore
    • 50 Dennis Lim
    The flashes of emotional eloquence from the actors (especially Fitzgerald and Julianne Nicholson, as the radiant vet student who befriends both boys) are muffled by the ultimately asphyxiating preciousness.
    • 57 Metascore
    • 50 Dennis Lim
    Makes the strongest case for retirement since late-period Roger Moore.
    • tbd Metascore
    • 50 Dennis Lim
    The panoramas of vacant lots and boarded-up buildings, cheesily scored to lugubrious music, get monotonous, until you realize that repetition is precisely the point.
    • 56 Metascore
    • 50 Dennis Lim
    Dusted off for one more run-through, and for those who applauded "Titanic's" old-is-new ethos, the moth-eaten, barely breathing Anna and the King will serve as a slap in the face.
    • 61 Metascore
    • 50 Dennis Lim
    Director John Stockwell keeps the proceedings casual, and the film is admirably at ease with its dutifully trite plot and porn-worthy dialogue (most of which vanishes under the crash of a wave or the roar of a jet-ski anyway).
    • 41 Metascore
    • 50 Dennis Lim
    There's a certain satisfaction in recognizing that Harold -- even when he inevitably starts to feel, just like a human -- remains something of an a--hole.
    • 68 Metascore
    • 50 Dennis Lim
    There's no gold dust to be found here, just an awful lot of stick-on glitter.
    • 66 Metascore
    • 50 Dennis Lim
    Given that The Eye plays out without so much as a single new idea or real surprise, it's a testament to the Pangs' knack for composition and editing -- or Orange Music's merciless Psycho-tronic score -- that the movie goes boo as effectively as it does.
    • 36 Metascore
    • 50 Dennis Lim
    Easily the artiest queer stroke movie of the year.
    • 42 Metascore
    • 50 Dennis Lim
    Luis Mandoki's brisk hack job pushes no more buttons than Connie Chung Tonight -- though, for better or worse, it's perverse enough to stage the traumatic event as a spouse swap.
    • 52 Metascore
    • 40 Dennis Lim
    Too breezily, You’ll Get Over It gets over it--the dewy, abrupt optimism of its ending seems wholly unearned.
    • 44 Metascore
    • 40 Dennis Lim
    A bottomless trough of mystic swill, is too confused to even fulfill the paradigm's most basic requirements.
    • 42 Metascore
    • 40 Dennis Lim
    A disingenuous and colossally daft whiplash twist (presumably Patterson's) that only further perforates an already ragged plot.
    • 47 Metascore
    • 40 Dennis Lim
    The plot is muddy and quite beside the point. The almost meditative mood takes center stage.
    • 58 Metascore
    • 40 Dennis Lim
    Returns the teen movie to the uncomplicated glory days of "Porky's" and "Losin' It."
    • 44 Metascore
    • 40 Dennis Lim
    French director David Fourier's six-minute mock-instructional free association, "Majorettes in Space," is alone almost worth the price of admission.
    • 53 Metascore
    • 40 Dennis Lim
    The Fluffer even heads south of the border for its finale, as if hoping that warmer climes will energize its fitful melodrama.
    • 49 Metascore
    • 40 Dennis Lim
    K-PAX undertakes a garbled but comprehensive survey of Hollywood therapeutic clichés: The rain man has an awakening from his cocoon, pays it forward, turns into the fisher king.
    • 48 Metascore
    • 40 Dennis Lim
    Ju-on never snaps into focus like a "Go" or a "Pulp Fiction," and what at first registers as sloppy plotting starts to seem positively diabolical.
    • 46 Metascore
    • 40 Dennis Lim
    A feel-good, fatalist placebo.
    • 57 Metascore
    • 40 Dennis Lim
    It sustains its purplish, epic sweep by thrusting broadly etched characters into extravagantly hokey situations, and registers mainly as a flamboyant joke.
    • 62 Metascore
    • 40 Dennis Lim
    Star/writer Mike Myers and director Jay Roach struggle visibly with exhausted possibilities and diminishing returns.
    • 47 Metascore
    • 40 Dennis Lim
    The viewer, though unavoidably alert, is before long too numb to care.
    • 78 Metascore
    • 40 Dennis Lim
    A disappointment after the droll, breezy suggestiveness of Fontaine's equally Freudian "Dry Cleaning," How I Killed My Father is rather less than the sum of its underventilated père-fils confrontations.
    • 65 Metascore
    • 40 Dennis Lim
    Guy Ferland directs with close attention to surface detail, but he never gets to the heart of the story - quite possibly because there isn't one to begin with. [21 Oct 1997]
    • Village Voice
    • 64 Metascore
    • 40 Dennis Lim
    It's forgivable, and even appropriate, that Mondays itself suffers from a certain lack of definition -- a drifting, repetitive dead-endedness that, at the inconclusive finale, shows no signs of abating.
    • 44 Metascore
    • 40 Dennis Lim
    Good-natured but labored, the film clings to its lone gimmick with increasing desperation.
    • 46 Metascore
    • 40 Dennis Lim
    The title is, to say the least, an understatement. Witchcraft has rarely looked more prosaic and less sexy than it does in Griffin Dunne's Practical Magic.
    • 56 Metascore
    • 40 Dennis Lim
    It's hard to fathom why anyone would voluntarily endure a holiday family reunion movie -- a genre devised solely to demonstrate how grotesque and how heartwarming families can be--when actual holiday family reunions already exist for those very reasons.
    • 52 Metascore
    • 40 Dennis Lim
    Might as well be bad TV...Splendor is what happens when a director whose natural mode is subversion runs out of things to subvert.
    • 61 Metascore
    • 40 Dennis Lim
    The Machinist has no meat on its bones, and we've seen it all before.
    • 59 Metascore
    • 40 Dennis Lim
    Unduly smug about its flashy conceit and otherwise utterly empty, the film plays like lobotomized Kieslowski, less Blind Chance than dumb luck.
    • 54 Metascore
    • 40 Dennis Lim
    Groove is less a work of subcultural ethnography than a curiously dorky act of hipster sincerity, less party movie than cheesy valentine
    • 53 Metascore
    • 40 Dennis Lim
    Roughly splits the difference between "Six Days, Seven Nights" and "9 1/2 Weeks." Which is something like the nth-order derivative of an infinite regression.
    • 44 Metascore
    • 40 Dennis Lim
    Largely innocuous and forgettable, Polly lacks "Mary's" romantic pathos and psychosexual anxiety and is a few squirmy set pieces shy of "Meet the Parents."
    • 55 Metascore
    • 40 Dennis Lim
    In his first major role, the Irish actor Farrell deflects the script's more dubious aspects through sheer magnetic presence.
    • 48 Metascore
    • 40 Dennis Lim
    Earnest and misguided in equal measure, The Theory of Flightis ostensibly a bold and rare attempt at depicting disabled people as sexual beings, but the notion is couched in such spurious and schematic terms that the film never really stands a chance.
    • 46 Metascore
    • 40 Dennis Lim
    Live by the meta-movie rules, die by the meta-movie rules: Rhinoceros Eyes is a parable on cine-enchantment that itself fails to enchant.
    • 44 Metascore
    • 40 Dennis Lim
    A disappointing nosedive into the mainstream for John Maybury, the Derek Jarman acolyte who transitioned successfully from experimental work to features with 1998's hallucinatory Francis Bacon biopic "Love Is the Devil."
    • 48 Metascore
    • 40 Dennis Lim
    The beauty of Sandler's performance -- a superbly modulated suite of crestfallen groans and grimaces -- is he often seems to be reacting not just to his crazy wife but also to the dismal movie he's stuck in.
    • 55 Metascore
    • 40 Dennis Lim
    Lee's trickery is dazzling in flashes but also monotonously strenuous -- the derangement factor is high but there's little evidence of authentic lunacy.
    • 37 Metascore
    • 40 Dennis Lim
    The cheerful how-to aspect ("cut and file your nails!") adds to the sense that the whole thing seems to have drifted in from some late-night infomercial netherland.

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