Richard Corliss

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For 966 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 4.3 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Almost Famous
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 97 out of 966
966 movie reviews
    • 91 Metascore
    • 60 Richard Corliss
    To accept the film, though, one must first understand its point of view, and that is maddeningly difficult. All we know for certain is that Do the Right Thing is not naturalistic. [July 3, 1989]
    • Time
    • 88 Metascore
    • 60 Richard Corliss
    Obvious, though, is the word for Hopper's direction. It amplifies to rock-concert level every pained plosive in Bertie's speech, forces certain characters dangerously close to caricature.
    • 86 Metascore
    • 50 Richard Corliss
    In terms of quality, though, Argo is just so-so.
    • 85 Metascore
    • 40 Richard Corliss
    All attitude and low aptitude.
    • 84 Metascore
    • 50 Richard Corliss
    I'm a notorious softie, and I found things to like about the film, most particularly Clooney's performance; but I remained untouched.
    • 83 Metascore
    • 50 Richard Corliss
    Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. [27 June 1988]
    • Time
    • 83 Metascore
    • 60 Richard Corliss
    Hanks has a wonderful scene, late in the film, that shows a strong man collapsing into frailty. It hints at the emotional depth the movie might have plundered. The rest of Captain Phillips must rely for its drive on the relentless mechanical agitation of Henry Jackman’s score. It can’t save an overly muscled docudrama that is more pounding that truly gripping.
    • 81 Metascore
    • 50 Richard Corliss
    Rourke does strong, sensitive work here, which will cheer his old-time admirers and win him new fans...But the movie itself is pretty bad.
    • 80 Metascore
    • 60 Richard Corliss
    This is a Bond with great body but no soul.
    • 79 Metascore
    • 60 Richard Corliss
    Me, I'm of two minds about a movie that wants to be a nail-ripping thriller and a statement on an artist's unholy communion with her role. It's reminiscent of older, better movies.
    • 78 Metascore
    • 50 Richard Corliss
    Blue Jasmine is the 77-year-old auteur’s first flat-out non-comedy in a quarter century — since "Another Woman" and "September" in the late ’80s, and back to "Interiors" in 1978. Like those more somber studies, this is a portrait of a woman in extremis. But a view from afar: Allen observes Jasmine’s allure and disease without penetrating her soul. That makes for a movie that is both intimate and disinterested, as if Jasmine were a flailing insect in a barren terrarium.
    • 77 Metascore
    • 60 Richard Corliss
    Invigorating and annoying, Lola could use a dose of Ritalin. Best to take this 76-minute riff on alternate destinies as an antidote to Europe's minimalist art-house cinema and to enjoy Potente's sweaty radiance.
    • 77 Metascore
    • 40 Richard Corliss
    Don't ask us why this minimalist drama won prizes last year at Cannes or why it is getting raves in its U.S. release.
    • 76 Metascore
    • 50 Richard Corliss
    It’s a bit of a botch.
    • 76 Metascore
    • 60 Richard Corliss
    Lynch and his film will surely be reviled, but as an experiment in expanding cinema's dramatic and technical vocabulary, Blue Velvet demands respect. [Sept. 22, 1986]
    • Time
    • 76 Metascore
    • 50 Richard Corliss
    To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
    • 76 Metascore
    • 50 Richard Corliss
    Like the ZAZ lads' other films, this is a movie made for a VCR Saturday night. They supply the jokes; you bring the microwave popcorn and modest expectations. [12 Dec 1988]
    • Time
    • 75 Metascore
    • 40 Richard Corliss
    Disney is trying to lure the disparate audiences of "Harry Potter and the Goblet of Fire" (kids) and "The Passion of the Christ" (Evangelicals). But on either level, Narnia fails. There's no fire, no passion and not much fun.
    • 75 Metascore
    • 50 Richard Corliss
    A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
    • 75 Metascore
    • 50 Richard Corliss
    By buying the pitch that its central character’s escapades were the stuff of mesmerizing drama or comedy, Scorsese, Winter and DiCaprio reveal themselves as dupes — the latest in a long line of clever folks swindled by Jordan Belfort.
    • 74 Metascore
    • 40 Richard Corliss
    Intent on both dazzling and punishing the viewer, Gilliam gets lost in creepy spectacle and plenty of old film clips (notably "Vertigo"). But at the sight of three giraffes crossing a city bridge, you'll think of a more recent movie. A bad one. [8 Jan 1996, p.69]
    • Time
    • 74 Metascore
    • 40 Richard Corliss
    Doesn't offer much.
    • 74 Metascore
    • 50 Richard Corliss
    Ultimately, Titanic will sail or sink not on its budget but on its merits as drama and spectacle. The regretful verdict here: Dead in the water.
    • 74 Metascore
    • 40 Richard Corliss
    The film is one-note; misery is the only game in town.
    • 74 Metascore
    • 60 Richard Corliss
    The real battle here is between two generations of acting styles: meticulous method vs. star quality.
    • 74 Metascore
    • 50 Richard Corliss
    The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
    • 74 Metascore
    • 60 Richard Corliss
    This is the rough cut of a good movie, and a splendid opportunity wasted.
    • 73 Metascore
    • 40 Richard Corliss
    Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
    • 73 Metascore
    • 40 Richard Corliss
    The film causes no tremors, only a hemi-Demme-semiquaver.
    • 73 Metascore
    • 60 Richard Corliss
    The script, by Peter Hedges from his novel, spins out a few too many eccentricities, and the direction, by Lasse Hallstrom (My Life as a Dog), meanders. But DiCaprio and Cates bring loopy authenticity to their roles, and Depp is, as always, a most effacing star.
    • 73 Metascore
    • 50 Richard Corliss
    To Western eyes, this meandering parable registers as a perplexity and a disappointment.
    • 73 Metascore
    • 50 Richard Corliss
    The pulse of Curtis Hanson's direction is lethargic; the comic bits are so slack and deadpan you could mistake the film for an earnest drama--an Afterschool Special for troubled kids and their pooped parents.
    • 73 Metascore
    • 50 Richard Corliss
    Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
    • 73 Metascore
    • 50 Richard Corliss
    Even Galifianakis's pervy charm, and a deeply weird cameo by Mike Tyson, can't save The Hangover. Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon.
    • 73 Metascore
    • 60 Richard Corliss
    Mission: Impossible – Ghost Protocol is no "Fast Five."
    • 73 Metascore
    • 50 Richard Corliss
    The new film is a toss-up with George Pal's very watchable 1953 version: the special effects are even better here, the drama even lamer.
    • 72 Metascore
    • 50 Richard Corliss
    All these roles could have been found at a garage sale of comedy stereotypes. To the extent that 50/50 works, it is because of Gordon-Levitt, one of my favorite actors.
    • 72 Metascore
    • 40 Richard Corliss
    A movie this implausible shouldn't be this dull.
    • 71 Metascore
    • 60 Richard Corliss
    The movie is a little gimpy. But Murray's molto impressive. He drops his voice half an octave; he walks like a golem tailored by Armani; he puts his silky style in the service of menace. It's a whole nother dimension to him. [8 March 1993]
    • Time
    • 71 Metascore
    • 50 Richard Corliss
    By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
    • 71 Metascore
    • 50 Richard Corliss
    Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.
    • 70 Metascore
    • 40 Richard Corliss
    Arcand has a gift for witty dialogue but a weakness for force-feeding his story with sentiment. References to ancient holocausts and to 9/11 simply expose the intent of a director who will do anything to touch his audience -- with a sweet gesture or a cattle prod. And in a comedy of manners, that behavior is very impolite.
    • 70 Metascore
    • 60 Richard Corliss
    The film mostly simmers.
    • 70 Metascore
    • 40 Richard Corliss
    In this space epic, no one will hear you laugh.
    • 70 Metascore
    • 50 Richard Corliss
    It lacks overall focus, and at the end you may have a question for Michael Mann: Why'dyou bother? [July 6, 2009, p.59]
    • Time
    • 70 Metascore
    • 60 Richard Corliss
    A serious film about the gnawing of conscience and the thirst for redemption, but the tone is so dispassionately vile it may leave viewers shaken or sick. [16 Nov 1992, p.95]
    • Time
    • 70 Metascore
    • 40 Richard Corliss
    That first movie raised the craft of torture to a low art. Expect no less in LW2, directed by Richard Donner and written by Jeffrey Boam. This installment features a surfboard decapitation, death by carpenter's nail gun, a bomb wired to a very sensitive seat ( and reduction of the Afrikaaner diaspora by about one-half. (24July 1989, p.53)
    • Time
    • 69 Metascore
    • 50 Richard Corliss
    You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
    • 69 Metascore
    • 60 Richard Corliss
    For all the carnage, Lee's tone is contemplative.
    • 69 Metascore
    • 50 Richard Corliss
    Simultaneously diverting and annoying.
    • 68 Metascore
    • 50 Richard Corliss
    Can The Hunger Games, in the movie version directed by Gary Ross, successfully navigate the crossing from page to screen? Our answer: Eh.
    • 68 Metascore
    • 50 Richard Corliss
    The performances here are so sharp that viewers may wish End of Watch has been shot by someone who knew how to find the right point of view for a scene and leave it there.
    • 68 Metascore
    • 50 Richard Corliss
    Tries anything for a gross-out laugh — but feels oh-so-familiar
    • 68 Metascore
    • 60 Richard Corliss
    At its shambling best, Office Space is like a bracing break at the coffee machine. Some horrible Monday, why not cut work to see it?
    • 67 Metascore
    • 60 Richard Corliss
    The movie is way too colorful - cute, in a repulsive way, with its crawly special effects - and tame compared with its source.
    • 67 Metascore
    • 40 Richard Corliss
    Pretty lethargic stuff. Monty, a convicted drug dealer on his last day before he is to report to prison, does more moping than moving.
    • 67 Metascore
    • 50 Richard Corliss
    An ideal play is degraded into an indolent film
    • 67 Metascore
    • 40 Richard Corliss
    Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
    • 67 Metascore
    • 50 Richard Corliss
    Carano is her own best stuntwoman, but in the dialogue scenes she's all kick and no charisma. The MMA battler lacks the conviction she so forcefully displayed in the ring. She is not Haywire's heroine but its hostage.
    • 67 Metascore
    • 50 Richard Corliss
    Watson makes a smooth matriculation from the England-made Harry Potter epics to this movie's thrifty, six-week Pittsburgh shoot.
    • 67 Metascore
    • 50 Richard Corliss
    Nowhere Boy is a surprisingly conventional film - adroit at weaving a time-and-place mood but way too rigid dramatically to bring the Lennon family dynamic to life.
    • 67 Metascore
    • 60 Richard Corliss
    Picaresque movies often feel longer than they are. For them to work, they need an interior spring with more thrust than Darjeeling's attempt at reconstituted brotherhood. The problem is in Anderson's approach, which is so supercool, it's chilly. Anderson has the attitude for comedy but not the aptitude.
    • 67 Metascore
    • 40 Richard Corliss
    Somewhere has a lot of good impulses, and a salutary faith in an audience's patience; but the film's tone, in its script, performances and visual style, is studiously uninflected. It's a document of people seen remotely, maybe from outer space.
    • 67 Metascore
    • 50 Richard Corliss
    Ruby Sparks tries its damnedest to make a picture that seduces moviegoers into accepting it as their best imaginary friend forever. But the sweat shows more than the sparkle.
    • 66 Metascore
    • 60 Richard Corliss
    It points out what's missing in his (Oshii) approach: fluidity of character line, the subtlety of expression that brought humanity to a Warner Bros. cartoon duck or rabbit.
    • 66 Metascore
    • 50 Richard Corliss
    Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
    • 66 Metascore
    • 50 Richard Corliss
    When in doubt, director Tony Scott ("Top Gun", "Days of Thunder") lets loose a spray of water, sparks and sweat-the signature flourish of this Helmut Newton of movie machismo.
    • 66 Metascore
    • 60 Richard Corliss
    The Informant! may end up closer to the non-starters. Its lunacy is too deadpan, and its denouement too drawn out, to appeal to those who liked the Bourne movies, or, for that matter, the Gore. But it's worth seeing, and a salutary achievement.
    • 66 Metascore
    • 50 Richard Corliss
    Along with other cast members, Penn takes ages registering his stares and scowls, until the movie is finally not about gangs but about actors' attitudes. Dressed up in '80s street slang, this is a '60s exercise in Method excess. [18 Apr 1988]
    • Time
    • 65 Metascore
    • 60 Richard Corliss
    The word "mixed" isn't mixed enough to fit my response to this film.
    • 65 Metascore
    • 50 Richard Corliss
    More a case history than a devious puzzle, the movie is like a story overheard from the next restaurant booth: for all your curiosity as to how it turns out, you're not likely to have much personal investment in the people.
    • 65 Metascore
    • 40 Richard Corliss
    Painful, and not in a good way. A glimpse into the '60s should give us not just the warm bath of recognition but the shock of the new, as least as it felt in days of old. That doesn't happen, in a movie that evokes less empathy than apathy.
    • 65 Metascore
    • 40 Richard Corliss
    Too bad that First Class torpedoes its lofty intentions with flights of idiocy so wrongheaded as to be almost endearing.
    • 65 Metascore
    • 60 Richard Corliss
    This spectacle of strenuous improvising is more stunt than true experiment.
    • 65 Metascore
    • 50 Richard Corliss
    Shaggily amusing but familiar and way-too-long.
    • 65 Metascore
    • 40 Richard Corliss
    Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
    • 65 Metascore
    • 60 Richard Corliss
    My advice to Scott and Lindelof is, Try harder - to bring the characters as well as the creatures alive; to extend the grandeur of that music-of-the-sphere scene to an entire movie; to devise new horror-film money shots; and to scare the crap out of me.
    • 65 Metascore
    • 40 Richard Corliss
    An idiot-savant movie, knowing but not smart.
    • 65 Metascore
    • 40 Richard Corliss
    Stuff still leaps out of the screen -- the snake striking a victim, cars sent flying by Death Eaters -- but few things in the movie lodge in the audience's mind or heart.
    • 65 Metascore
    • 60 Richard Corliss
    The plot becomes landlocked in true-life implausibilities; the characters rarely get a hold on the moviegoer's heart or lapels. What saves this meditation on the vestiges of colonialism is, ironically, its celebration of American star power.
    • 64 Metascore
    • 50 Richard Corliss
    The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
    • 64 Metascore
    • 50 Richard Corliss
    Conran hasn't attached his technical virtuosity to a ripping yarn or infused it with behavioral brio. The first of its kind often doesn't work; Sky Captain may be the Moses that leads other directors to a blue-sky, blue-screen promised land.
    • 64 Metascore
    • 50 Richard Corliss
    The film lacks moviemaking buoyancy -- the feeling of soaring in space that Rowling's magic-carpet prose gives the reader. The picture isn't inept, just inert.
    • Time
    • 64 Metascore
    • 50 Richard Corliss
    You get 45 minutes of awesome encased in 90 minutes of yawnsome.
    • 64 Metascore
    • 50 Richard Corliss
    Che
    In the end, the Cuban newspaper was nearly right: it's not the Castro character but the whole of this grand, doomed experiment that lacks "charisma and depth."
    • 64 Metascore
    • 50 Richard Corliss
    Despite enough pummeling to flatten Rocky Balboa in all six movies, the only thing that truly rewards your attendance is Pitt in another effortless star performance.
    • 64 Metascore
    • 50 Richard Corliss
    Mind you, I don't begrudge the creators of even a junk-food movie like Cloverfield the fun they had demolishing New York one more time.
    • 64 Metascore
    • 50 Richard Corliss
    Though we still believe that Lawrence, who turned 25 in August, can do no wrong, she isn’t given much opportunity to do anything spectacularly right here. Her performance is a medley of sobs and gasps, in mournful or radiant closeup. This time, her Katniss is as much a prisoner of her circumstances as Peeta is. She and the movie are both victims of burnout.
    • 64 Metascore
    • 60 Richard Corliss
    Payne cannot shape or propel his own good material. He lets things dawdle when briskness would be a boon, and defeats the gung-ho efforts of Dern and other worthy actors. [9 December 1996, p.82]
    • Time
    • 64 Metascore
    • 50 Richard Corliss
    The film's director, Kevin Macdonald, who did "The Last King of Scotland," is not a flair fellow. The chase scenes interpolated into this version have no special oomph; the encounters no residual kick. Paging Ridley Scott? Oh, sorry, too late. So there it is: another film that can't compete with a TV show.
    • 64 Metascore
    • 50 Richard Corliss
    But it IS a movie about dopes: goofy guys, born without the ambition gene, and who would not survive a minute in the drug world, or the real one, without the guardian angel of a scriptwriter hovering to think them out of scrapes.
    • 64 Metascore
    • 60 Richard Corliss
    At 2 1/2 hours, it all plays like the rough assembly of a 90-min. caper film--an anecdote told at epic length. Grier, foxy lady of '70s blaxploitation, is given little chance to radiate. [22 Dec 1997, p.80]
    • Time
    • 64 Metascore
    • 60 Richard Corliss
    Agreeable but never compelling, Silverado proves it takes more than love of the western to make a good one. Maybe the dudes at K-Tell were a mite too slick for the job.
    • 63 Metascore
    • 60 Richard Corliss
    Rumble Fish is the messiest, most provocative inkblot of the year.
    • 63 Metascore
    • 50 Richard Corliss
    Sensitive souls in search of wrenching emotion can be guaranteed their Kleenex moments; you will get wet. But aside from that opening scene, you will not be cinematically edified. This is a bad movie.
    • 63 Metascore
    • 40 Richard Corliss
    When he had started playing this game of Save the Planet—when he was roguish Sean Connery and the world was so much younger—Bond had been a kind of role model for people of a certain class and ambition. Savoir-faire meant the aristocracy of style: which wine to decant, which brand of cigarette to smoke, which automatic weapon to carry under the armpit. Now that he was Roger Moore, 20 years later, Bond had degenerated into a male model, and something of a genial anachronism.
    • 63 Metascore
    • 40 Richard Corliss
    For a viewer sympathetic to Schwarzenegger's and Cameron's best selves -- the ironist with muscles and the mordant fabulist -- True Lies is a loud misfire. It rarely brings its potent themes to life.
    • 63 Metascore
    • 60 Richard Corliss
    In ingenuity and charm, this DreamWorks offering isn't up there with "Kung Fu Panda," which remains the sharpest, fullest film from the studio. You may get the feeling that Megamind was made for, and possibly by, really smart six-year-olds. Nothing wrong with that; audiences of all ages can be tickled by the higher form of preadolescent humor.
    • 63 Metascore
    • 50 Richard Corliss
    The problem is that this pot of intrigue takes ages to boil, and the cook refuses to turn up the heat. And if vitality is not an element Sayles cherishes, neither is nuance.
    • 62 Metascore
    • 40 Richard Corliss
    As handsome and slack muscled as a surfer past his prime, the movie renounces ambiguity for confusion. In the end, like an old set of tires or a frayed friendship, Tequila Sunrise just wears out. [19 Dec 1988, p.79]
    • Time

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