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

Dennis Lim's Scores

  • Movies
Average review score: 48
Highest review score: 100 Last Days
Lowest review score: 0 Followers
Score distribution:
  1. Positive: 84 out of 287
  2. Negative: 93 out of 287
287 movie reviews
    • 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.
    • 62 Metascore
    • 30 Dennis Lim
    Sputters to a dead halt right out of the gate. One labored scenario follows another.
    • 56 Metascore
    • 30 Dennis Lim
    The filmmakers at once coarsen and dilute a fascinating life into a lumpy puddle of punishing inspirational hokum.
    • 32 Metascore
    • 30 Dennis Lim
    A ponderous, almost wordless sliver of grotesquerie.
    • 35 Metascore
    • 30 Dennis Lim
    Yet another black comedy that misunderstands and misrepresents the genre.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 30 Dennis Lim
    It lacks the coherent internal logic that distinguishes the best mockumentaries.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Dennis Lim
    Peaks early with a vertiginous dogfight; thereafter, spotty CGI and a bamboozling plot conspire toward a colossal anticlimax.
    • 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.
    • 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.
    • 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.
    • 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.
    • 35 Metascore
    • 30 Dennis Lim
    Doesn't just look and sound like a car commercial. It is a car commercial.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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).
    • 64 Metascore
    • 30 Dennis Lim
    Airy, pseudo-folkloric gibberish at best.
    • 37 Metascore
    • 30 Dennis Lim
    The movie's idiotic fascination with the senselessness of its central act is scarily close to a fetish.
    • 63 Metascore
    • 30 Dennis Lim
    Open Water is simply a stunt--hopelessly literal-minded and cheap in every sense.
    • 50 Metascore
    • 30 Dennis Lim
    A stifling chamber piece laced with Repulsion-style foreboding and an undercurrent of kink.
    • 53 Metascore
    • 30 Dennis Lim
    Time and again words fail Weber. He's a loquacious but unilluminating host.
    • 46 Metascore
    • 20 Dennis Lim
    The title's pointedly incorrect pronoun is typical of the film's obtuse childishness.