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 11.8 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 Boat Trip
Score distribution:
  1. Positive: 84 out of 287
  2. Negative: 93 out of 287
287 movie reviews
    • 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.
    • 34 Metascore
    • 30 Dennis Lim
    A pale, patchy amalgam of the year's two unfairly reviled interplanetary adventures, "Supernova" and "Mission to Mars," the lunkheaded Red Planet distinguishes itself with a touching pretense of scientific veracity.
    • 33 Metascore
    • 30 Dennis Lim
    The finale is a near-abstract mess (decapitation, impalation, "Alien" birth) -- in an empathic gesture, the filmmakers end it all with a few sticks of TNT.
    • 70 Metascore
    • 30 Dennis Lim
    Manipulative and cloying, Pieces of April turns into something altogether creepier, even pathological, whenever first-time filmmaker Peter Hedges (screenwriter of "What's Eating Gilbert Grape" and "About a Boy") brings up race.
    • 43 Metascore
    • 30 Dennis Lim
    Apparently reassembled from the cutting-room floor of any given daytime soap.
    • 35 Metascore
    • 30 Dennis Lim
    Yet another black comedy that misunderstands and misrepresents the genre.
    • 46 Metascore
    • 30 Dennis Lim
    "The only thing that matters is the ending," Mort declares in the closing seconds, just as the director is serving up a colossal (and literally corny) stinker. But for Depp, it's yet another daunting mission accomplished with wit and ingenuity.
    • 54 Metascore
    • 30 Dennis Lim
    Swaddled in the posh vulgarity that passes for awards-season elegance, Memoirs is deluxe orientalist kitsch, a would-be cross between "Showgirls" and "Raise the Red Lantern," too dumb to cause offense though falling short of the oblivious abandon that could have vaulted it into high camp.
    • 84 Metascore
    • 30 Dennis Lim
    The scenario eventually becomes so coincidence-choked that the filmmakers have no choice but to play it for mild snickers.
    • 40 Metascore
    • 30 Dennis Lim
    A road movie, though there's a decided lack of forward motion.
    • 62 Metascore
    • 30 Dennis Lim
    Sputters to a dead halt right out of the gate. One labored scenario follows another.
    • 58 Metascore
    • 30 Dennis Lim
    Jordan and Kirsten Russell, as the deadbeat-hooker love interest, bring the film to intermittent life, suggesting several more dimensions than the stale, futile scenario ever allows them.
    • 44 Metascore
    • 30 Dennis Lim
    Devoid of originality, Gasoline is at least a model of modesty -- a road movie that goes nowhere slowly, and ends up where it began.
    • 56 Metascore
    • 30 Dennis Lim
    CQ
    Endearing but pointless, at once cluttered and tinny, this film-dork fantasia suggests a shopping spree at a high-end vintage emporium underwritten by Daddy's blank check.
    • 50 Metascore
    • 30 Dennis Lim
    A stifling chamber piece laced with Repulsion-style foreboding and an undercurrent of kink.
    • 44 Metascore
    • 30 Dennis Lim
    Trying to act in this movie is like trying to stand upright in a blizzard.
    • 36 Metascore
    • 20 Dennis Lim
    With a few exceptions, most of the laughs in Stardom are cheap...and worse, the ideas beyond platitudinous.

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