Richard Corliss

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For 978 reviews, this critic has graded:
  • 57% higher than the average critic
  • 2% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 4 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Moonstruck
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 97 out of 978
978 movie reviews
    • 52 Metascore
    • 30 Richard Corliss
    The first Lynch film in which his motives -- to hang a haberdashery of bizarre incidents on the merest hook of plot -- are apparent... What's lacking is the old sense of delicious, disturbing mystery. [20 Aug 1990, p.63]
    • Time
    • 52 Metascore
    • 30 Richard Corliss
    Blow works for a scene or two, then stalls.
    • Time
    • 35 Metascore
    • 30 Richard Corliss
    But this is a sloppy job, both in little goofs...and in the cast's gung-ho amateurism. It's like Shakespeare done by the "Fame" kids.
    • 43 Metascore
    • 30 Richard Corliss
    You will simply want to shoot yourself by the third inning.
    • Time
    • 42 Metascore
    • 30 Richard Corliss
    The tone is cloying, the running time bloated.
    • Time
    • 58 Metascore
    • 30 Richard Corliss
    So muted it disappears from your view even before it recedes from your memory.
    • 48 Metascore
    • 30 Richard Corliss
    We [Farrellys'] mock, they say, because we care. But that doesn't make the film elevating or amusing.
    • 46 Metascore
    • 30 Richard Corliss
    All its desperate plot maneuvers (Ben and Sandra making like Tarzan on a train roof) can't give the film wit; all the slo-mo sleet, rain and confetti can't give it style. [March 22, 1999]
    • Time
    • 49 Metascore
    • 30 Richard Corliss
    May leave viewers emotionally disconnected from this distinctly unchipper Mr. Chips.
    • 52 Metascore
    • 30 Richard Corliss
    A bad movie that a lot of people will like... Though director Jerry Zucker wants his necrophiliac romance to be sensitive, he pumps up its feelings fortissimo so the dimmest viewer will get the point. [16 July 1990, p.86]
    • Time
    • 35 Metascore
    • 30 Richard Corliss
    In this film we learn that it takes 8,000 lbs. of pressure to crush a car but only one credited screenwriter (Scott Rosenberg) to pound out such a lame script.
    • Time
    • 60 Metascore
    • 30 Richard Corliss
    It's a brilliant idea, for about 10 minutes. Then the bare set is elbowed out of a viewer's mind by the threadbare plot and characterizations.
    • 33 Metascore
    • 30 Richard Corliss
    It's pretty awful.
    • 38 Metascore
    • 30 Richard Corliss
    Pretty lame. Sharkboy has an especially frantic, amateur atmosphere, with a mostly maladroit cast.
    • 68 Metascore
    • 30 Richard Corliss
    It could be a distillation of some unaired black soap opera, so predictable are the plot contrivances--adultery, pregnancy, illness, missing money--and so cartoonishly are the characters drawn.
    • 71 Metascore
    • 30 Richard Corliss
    There's evocative atmosphere in the period detail and perky faux-'60s tunes. A pity these are wasted in a movie that, like many a pop tune, has a cute idea but a simpleminded lyric.
    • 39 Metascore
    • 30 Richard Corliss
    Like Saturday Night Fever and, for that matter, the Rocky films, Flashdance has made it big by taking experiences of black youths and playing them in whiteface. But unlike its grittily romantic predecessors, Flashdance is pure glitz.
    • 81 Metascore
    • 30 Richard Corliss
    It's a startling, exhausting spectacle - and, like the rest of Leigh's performance, very, very bad.
    • 66 Metascore
    • 30 Richard Corliss
    The canniest moments in the three-plus hours of Nixon, Oliver Stone's dense, ultimately disappointing biopic, capture Nixon at his most pathetically endearing--the Commander in Chief as klutz.
    • 41 Metascore
    • 30 Richard Corliss
    Alas, The Outsiders is not quite a good one. Because it falls in with the undulating rhythm of the life of its heroes, for whom a fatal fight and a quiet night have almost equal importance, the picture never manages to reach the peaks of satisfying Hollywood melodrama.
    • 49 Metascore
    • 30 Richard Corliss
    If you consider what the exalted quartet of Branagh, Pinter, Caine and Law might have done with the project, and what they did to it, Sleuth has to be the worst prestige movie of the year.
    • 35 Metascore
    • 30 Richard Corliss
    Jumper is so lame -- undernourished in its characterizations, stillborn in its action scenes -- that it inevitably leads the idled mind to wondering how this movie got past the pitch stage.
    • 63 Metascore
    • 30 Richard Corliss
    Either the Coens failed, or I didn't figure out what they're attempting. I must be like Harry or Osborne, pretending to a sophistication I lack. Burn After Reading is a movie about stupidity that left me feeling stupid.
    • 32 Metascore
    • 30 Richard Corliss
    The only collateral damage is in the audience, where, as you sit through the movie, you can feel your IQ drop minute by minute.
    • 34 Metascore
    • 30 Richard Corliss
    Butler has the showier part, but his impersonation of the tragic hero is undercut by his weird resemblance to Soupy Sales. You start hoping that Shelton will kill somebody with a custard (or puffer-fish) pie to the face.
    • 27 Metascore
    • 30 Richard Corliss
    That imperishable affability, that eagerness to please his Hollywood bosses, allows Chan to elude many of the indignities thrown his way in The Spy Next Door. It may also be the reason he says yes to a junky movie like this.
    • 33 Metascore
    • 30 Richard Corliss
    Mostly awful.
    • 25 Metascore
    • 30 Richard Corliss
    A picture that registers between Abysmally Awful and Mildly Mediocre. Such a one would be When in Rome, which is possible to sit through without wanting to stick darts in your eyes or frag the screen. Call it medi-awful.
    • 31 Metascore
    • 30 Richard Corliss
    Sluggish, formulaic.
    • 21 Metascore
    • 30 Richard Corliss
    Take what pleasure you can from the two stars. They look great; it's just the state of romantic comedy that looks terminal.
    • 45 Metascore
    • 30 Richard Corliss
    The 70-minute movie -- which was co-written by the British-Pakistani commentator Tariq Ali, author of the 2006 study "Pirates of the Caribbean: Axis of Hope," and photographed in part by docu-doyen Albert Maysles -- is amateur night as cinema, as lopsided and cheerleadery as its worldview.
    • 39 Metascore
    • 30 Richard Corliss
    Another dreadful entry in the festering form of romantic comedy: the forced intimacy of two people who have nothing in common but hatred for each other.
    • 42 Metascore
    • 30 Richard Corliss
    Sanctum is a stinker, a horror movie without a visible monster.
    • 33 Metascore
    • 30 Richard Corliss
    Sucker Punch has vast empty patches, deserts of dead air.
    • 27 Metascore
    • 30 Richard Corliss
    The movie is like a car wreck in which no one is injured but the onlookers.
    • 49 Metascore
    • 30 Richard Corliss
    For a soul-sucking 83 minutes, you're trapped inside the film's tiny, ugly mind.
    • 58 Metascore
    • 30 Richard Corliss
    Crowe has made a meretricious weepie that rouges the facts and defeats the attempts of Matt Damon, with his considerable charm and skill, to breathe some emotional truth into it. There's a word for the strenuous, shameless plucking of an audience's emotions that this movie traffics in: cornography.
    • 40 Metascore
    • 30 Richard Corliss
    By our count, three of the core SEALs are maimed or dead by the end. A new baby is left without her loving father. The picture ends not with a parade but with a funeral. And that may be the toughest, most lasting image in this cockamamie, Pentagon-approved war adventure.
    • 46 Metascore
    • 30 Richard Corliss
    Fumbles nearly every opportunity to be funny: the dialogue is flat, straining for wit it never achieves, and the pace is torpid when it should be bustling. But, the couture, darling, is hilariously divine.
    • 31 Metascore
    • 30 Richard Corliss
    A triumph of bravado over self-regard, Brody's performance won't earn him a Oscar to place next to the one he earned for "The Pianist" nine years ago, but it's the only thing that makes High School marginally worth catching.
    • 47 Metascore
    • 30 Richard Corliss
    Though it has moments where it rises to fun-awful status, with a hideous giddiness that turns moviegoers into rubbernecking motorists at a crash site, it's mostly just awful.
    • 58 Metascore
    • 30 Richard Corliss
    Vapid, claustrophobic drama.
    • 28 Metascore
    • 30 Richard Corliss
    Many of D’Souza’s charges in his movie are either piffling (Obama returned a bust of Winston Churchill to the British Embassy), wrong (the U.S. is drilling for at least as much oil now as in the George W. Bush) or murky.
    • 55 Metascore
    • 30 Richard Corliss
    Roger Michell's movie is, pretty consistently, dreadful.
    • 49 Metascore
    • 30 Richard Corliss
    So Broken City stokes a lot of hopes. Too bad for all of us, the makers and the watchers alike, that it's a grimy botch.
    • 28 Metascore
    • 30 Richard Corliss
    It’s the lamest and most vacant of the quintet — though if you mistakenly think you’re buying a ticket to a demolition derby instead of a night at the movies, you’ll feel right at home.
    • 63 Metascore
    • 30 Richard Corliss
    "Trash Humpers" at least had the artistic courage of its own lunatic convictions, but Spring Breakers is all surface and sham; it’s trash about humpers.
    • 37 Metascore
    • 30 Richard Corliss
    The collision of violent spasms and art-film ennui leave the viewer’s brain bloody but unfilled.
    • 33 Metascore
    • 30 Richard Corliss
    Running, or stumbling, only 90 minutes, After Earth may lack the neck-swiveling awfulness of Shyamalan’s "The Last Airbender," but it quickly sinks in its logorrheic solemnity. The movie makes "Oblivion" seem as jolly a romp as "Spaceballs," and gives neither Shyamalan nor Smith much to smile about.
    • 61 Metascore
    • 30 Richard Corliss
    The result is a grim and predictable adventure saga that is not nimble but leaden. Dystopia has rarely been so dysto-pointing.
    • 53 Metascore
    • 30 Richard Corliss
    Why did these talented folks decide to take on Carrie when they had nothing innovative to bring to it and, by refrying the same blood sausage, risked invidious comparison to the original? To put it another way: If the most modest expectations cannot be met, indeed must be crushed, then What Is Life?
    • 61 Metascore
    • 30 Richard Corliss
    Enemy is an arid parable, in which actors are neutered, zombified; they signify themes rather than occupying personalities.
    • 78 Metascore
    • 30 Richard Corliss
    Under the Skin falls in love with its bleak monotony. It is a melodrama with all the thrills surgically excised.
    • 62 Metascore
    • 30 Richard Corliss
    Edwards’ Godzilla dawdles toward its Doomsday climax; the movie could win a prize for Least Stuff Happening in the First Two-Thirds of an Action Film... It’s a concept lacking a magnetic story, a package without a product.
    • 56 Metascore
    • 30 Richard Corliss
    Except for Angelina Jolie, exemplary as the fairy badmother who laid a narcotic curse on an infant princess, this pricey live-action drama is a dismaying botch.
    • 32 Metascore
    • 30 Richard Corliss
    Nothing coheres. Movies usually try to come together at the end; this one falls apart. If that's Bay intention, then cinema has finally entered its Age of Extinction.
    • 39 Metascore
    • 30 Richard Corliss
    This one is bad — a little comedy that flops in big ways.
    • 47 Metascore
    • 30 Richard Corliss
    Did anyone have a good time making this movie? The actors seem to be reading their lines at gunpoint, in an enterprise whose mood is less summer camp than internment camp.
    • 60 Metascore
    • 30 Richard Corliss
    Landis seems no surer of his visual style than he does of his movie's tone, so he tries everything: shots angled from a dog's-or a god's-eye view, eerily lighted special effects, more dancers, more extras, more noise, more cars and car crashes. Alas, more is less, and The Blues Brothers ends up totaling itself.
    • 68 Metascore
    • 30 Richard Corliss
    Nothing makes a moviegoer feel more isolated than sitting stony-faced through a comedy that makes the rest of the audience laugh and cheer. Am I blind? Or are they seeing things?
    • 69 Metascore
    • 30 Richard Corliss
    His point here seems to be that voyeurism can induce a trancelike emotional paralysis—a message feminists could appreciate if Body Double took less pleasure in the mechanics of mutilation, and that ordinary moviegoers could ponder if the characters' motivations were not so numbingly nitwit. Upscale sleaze—so what else is new?
    • 28 Metascore
    • 30 Richard Corliss
    When the filmmakers grow tired of fowl puns -- about an hour after the audience does -- they switch to space opera, and Howard battles a scientist (Jeffrey Jones, funny against all odds) whose body is invaded by a giant lobster-scorpion space troll.
    • 58 Metascore
    • 30 Richard Corliss
    The Bond women are pallid mannequins, and so is the misused Dalton -- a moving target in a Savile Row suit. For every plausible reason, he looks as bored in his second Bond film as Sean Connery did in his sixth.
    • 49 Metascore
    • 20 Richard Corliss
    What aims at being terrifying is just loud and goofy.
    • 73 Metascore
    • 20 Richard Corliss
    Erin Brockovich is slick, grating and false. We bet it makes a bundle.
    • Time
    • 44 Metascore
    • 20 Richard Corliss
    Despite Jackson's typically bravura turn, this Valentine massacre marks a step backward for the gifted director of Eve's Bayou.
    • Time
    • 49 Metascore
    • 20 Richard Corliss
    It's mostly an ordeal--for actress and audience.
    • 51 Metascore
    • 20 Richard Corliss
    A ticket to Pretty Woman buys you mechanical titillation and predictable twists... Old-fashioned, assembly-line moviemaking without the old panache. [2 Apr 1990, p.70]
    • Time
    • 70 Metascore
    • 20 Richard Corliss
    This Ed Wood is dead wood.
    • Time
    • 45 Metascore
    • 20 Richard Corliss
    Every ambitious picturemaker should be allowed one wild misfire at no lasting cost to his reputation. Crowe (Jerry Maguire, Almost Famous) can now put this aside and go back to making good films.
    • Time
    • 57 Metascore
    • 20 Richard Corliss
    It is likely to disappoint the book's acolytes and tax the patience of newcomers. [1 December 1997, p.84]
    • Time
    • 51 Metascore
    • 20 Richard Corliss
    The only thing Schumacher and his scrupulous craftsfolk forgot to give the movie was life -- the energizing spirit of wit and passion that makes scenes work and characters breathe.
    • 45 Metascore
    • 20 Richard Corliss
    I Love You to Death lacks the precision, ferocity and guts needed for black farce.
    • 62 Metascore
    • 20 Richard Corliss
    Maybe it was fun to bathe in decadence back then. But this is no time to wallow in that mire.
    • 46 Metascore
    • 20 Richard Corliss
    A lot of it's real pretty, the colors and creatures and all, but these days, you know, every movie is pretty pretty. I guess the only thing that kept me glued to my seat was the gum somebody'd stuck on the upholstery. [16 July 1984, p.71]
    • Time
    • 34 Metascore
    • 20 Richard Corliss
    And now we have this ill wind, this feeble gust of an environmental horror story. The writer-director's disintegration from robust artistic health to narrative incoherence, from hitmaker to box-office loser, has an almost tragic trajectory. It's a saga worthy of being told by the young M. Night Shyamalan.
    • 33 Metascore
    • 20 Richard Corliss
    After sitting through this fractious fairy tale, we feel as plucked as a Christmas goose.
    • 28 Metascore
    • 20 Richard Corliss
    In its wan attempt to be raunchy, the picture fails where Judd Apatow has usually succeeded; written by three women, this is a girl's mistaken idea of an R-rated comedy.
    • 37 Metascore
    • 20 Richard Corliss
    The shaky-cam as used in "Cloverfield" and the Paul Greengrass "Bourne" films, and in TV shows from "NYPD Blue" to "24" to "The Office," is worse than amateurism; it's fake amateurism, the visual equivalent of a comedian pretending to have Parkinson's.
    • 52 Metascore
    • 20 Richard Corliss
    The proceedings get so slow and saccharine that viewers will relishes the film's moments of redeeming idiocy. In one of them, Marlena whispers to Jacob, "Bring Rosie to my tent and don't tell anyone" - as if the roustabouts wouldn't notice a 12-ft.-tall, 10,000-lb. creature striding down the midway.
    • 25 Metascore
    • 20 Richard Corliss
    Less a bad movie than simply not a movie, R.I.P.D. gives every indication of having been a sloppy first-draft script.
    • 26 Metascore
    • 10 Richard Corliss
    If this retro crime comedy had been a Broadway play, it would have closed out of town.
    • 24 Metascore
    • 10 Richard Corliss
    Too many special effects, many of them stomach churning; too much pornographically arranged death.
    • Time
    • 15 Metascore
    • 10 Richard Corliss
    Few movies have spread their fibs or facts as clumsily as this one. There's not an emotionally plausible moment in the picture.
    • Time
    • 47 Metascore
    • 10 Richard Corliss
    An intellectual and a sensualist, Cronenberg graces Crash with philosophical musings, acres of pretty flesh and even more penis talk than on some 8 o'clock sitcoms. For all that, Crash doesn't work.
    • 39 Metascore
    • 10 Richard Corliss
    Director Joe Johnston's elaborately dressed kids' movie--about a board game that sucks its players into a perilous jungle overrun by lions, rhinos, monkeys, crocodiles and spiders--spends so much time on the how of special effects that it neglects the why of characterization.
    • 39 Metascore
    • 10 Richard Corliss
    Director John Huston offers production numbers full of empty extravagance, a host of familiar characters (like Punjab and the Asp) with little to do - and a chorus of baby Mormans knowingly strutting their stuff, breaking the sound and charm barriers.
    • 31 Metascore
    • 10 Richard Corliss
    Occasionally curious moviegoers will discover an especially rotten specimen of the genus Cinema stinkibus... a work of ur-awfulness, counterbrilliance and antigenius. Your Highness, the new medieval-fantasy farce starring and co-written by Danny McBride, is such a movie.
    • 28 Metascore
    • 10 Richard Corliss
    This eighth Madea movie is pretty lame even by Perry’s slapdash standards.
    • 36 Metascore
    • 10 Richard Corliss
    Massively stupid: preposterous yet boring.
    • 16 Metascore
    • 0 Richard Corliss
    Obscene level of incompetence, excessive inanity in the story line, gross negligence of the viewer's intelligence, a prurient interest in the quick buck. [2 Oct 1995]
    • Time
    • 45 Metascore
    • 0 Richard Corliss
    Wearying, stupefying, dumber than dumb, When Nature Calls would be a career ender for Carrey--except that a zillion people have seen it. Stop this, folks. It'll only encourage him.
    • 5 Metascore
    • 0 Richard Corliss
    A stupefying shambles, Two of a Kind just noses out "Staying Alive" for Worst Picture of the Year.
    • 12 Metascore
    • 0 Richard Corliss
    Cocktail, has no reason for being other than to market the Cruise charm like a cheap celebrity perfume. It is a bottle of rotgut in a Dom Perignon box. [8 August 1988, p.68]
    • Time
    • 32 Metascore
    • 0 Richard Corliss
    Untraceable really is disgraceable. It's bad enough when a movie offers up atrocity scenes that would make the Nanking soldiers seem like Hannah Montana; it's repellent when the movie dresses up the sadism in a moral message that condemns the very weakness it is exploiting.
    • 20 Metascore
    • 0 Richard Corliss
    Surely the worst botch of a fantasy epic.
    • 37 Metascore
    • 0 Richard Corliss
    It's a shame that W.E. smells so bad.

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