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 11.2 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
    • 32 Metascore
    • 30 Dennis Lim
    A ponderous, almost wordless sliver of grotesquerie.
    • 39 Metascore
    • 30 Dennis Lim
    Peaks early with a vertiginous dogfight; thereafter, spotty CGI and a bamboozling plot conspire toward a colossal anticlimax.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Dennis Lim
    Trying to act in this movie is like trying to stand upright in a blizzard.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Dennis Lim
    Doesn't just look and sound like a car commercial. It is a car commercial.
    • 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.
    • 64 Metascore
    • 30 Dennis Lim
    Airy, pseudo-folkloric gibberish at best.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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).
    • 50 Metascore
    • 30 Dennis Lim
    A stifling chamber piece laced with Repulsion-style foreboding and an undercurrent of kink.
    • 63 Metascore
    • 30 Dennis Lim
    Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
    • 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.
    • 40 Metascore
    • 30 Dennis Lim
    A road movie, though there's a decided lack of forward motion.
    • 56 Metascore
    • 30 Dennis Lim
    The filmmakers at once coarsen and dilute a fascinating life into a lumpy puddle of punishing inspirational hokum.
    • 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.
    • 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).
    • 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.
    • 48 Metascore
    • 20 Dennis Lim
    Suggestive of nothing so much as Saturday-morning TV.