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Dumb and Dumber

Dumb and Dumber

Comedy · 1994

Lloyd and Harry are two men whose stupidity is really indescribable. When Mary, a beautiful woman, loses an important suitcase with money before she leaves for Aspen, the two friends (who have found the suitcase) decide to return it to her. After some "adventures" they finally get to Aspen where, using the lost money they live it up and fight for Mary's heart.

Movie details

Dumb and Dumber

“For Harry and Lloyd, every day is a no-brainer.”

1994 Comedy 1h 47m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Lloyd and Harry are two men whose stupidity is really indescribable. When Mary, a beautiful woman, loses an important suitcase with money before she leaves for Aspen, the two friends (who have found the suitcase) decide to return it to her. After some "adventures" they finally get to Aspen where, using the lost money they live it up and fight for Mary's heart.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Dumb and Dumber?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Peter Farrelly

Written by

Bobby Farrelly · Peter Farrelly · Bennett Yellin

Jim Carrey

Jim Carrey

Lloyd Christmas

Jeff Daniels

Jeff Daniels

Harry Dunne

Lauren Holly

Lauren Holly

Mary Swanson

Teri Garr

Teri Garr

Helen Swanson

Charles Rocket

Charles Rocket

Nicholas Andre

Karen Duffy

Karen Duffy

J.P. Shay

Mike Starr

Mike Starr

Joe Mentaliano

Court is in session

Put Dumb and Dumber on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Arthouse Gremlin

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.