Richard Corliss

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For 943 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 6.2 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Hugo
Lowest review score: 0 W.E.
Score distribution:
  1. Negative: 92 out of 943
943 movie reviews
    • 52 Metascore
    • 60 Richard Corliss
    Doesn't touch (Li's Hong Kong movies). But it is trying something clever.
    • 53 Metascore
    • 60 Richard Corliss
    Law, sexy and crafty as ever, and here with a flinty innocence, proves again he has the star-quality goods.
    • Time
    • 50 Metascore
    • 60 Richard Corliss
    Does Solondz feel remorse for libeling his own kind? He might need to if his portraits didn't have the gift of dark wit, the ring of social truth. One makes allowances for a master storyteller.
    • Time
    • 69 Metascore
    • 60 Richard Corliss
    For all the carnage, Lee's tone is contemplative.
    • 70 Metascore
    • 60 Richard Corliss
    The film mostly simmers.
    • 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
    • 67 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
    • 62 Metascore
    • 60 Richard Corliss
    Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
    • 45 Metascore
    • 60 Richard Corliss
    Pfeiffer restores honor to the family drama.
    • 52 Metascore
    • 60 Richard Corliss
    It should make audiences happy. But then so did most of his earlier movies, and they were lame, gnat-brained pieces of demagogic doo-doo!
    • 60 Metascore
    • 60 Richard Corliss
    With all its boardroom bickering, the plot is a gun that shoots mostly blanks. G3 is too faithful to the deliberate pacing of the first two films: the slow walking into a dark room, the silence surrounding the threats... The film is a slow fuse with a big bang. [24 Dec 1990, p.76]
    • Time
    • 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?
    • 52 Metascore
    • 60 Richard Corliss
    When Possession finds its true home, lodging in the convulsive certitude of Victorian romance, it does indeed catch fire -- and warms any viewer in the mood for love.
    • 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.
    • 61 Metascore
    • 60 Richard Corliss
    Lohman's pensive loveliness carries the film.
    • 62 Metascore
    • 60 Richard Corliss
    It's hard to know whom to blame for the film's choppiness, its mixture of rage and sentimentality, the stridency of some of the acting.
    • 65 Metascore
    • 60 Richard Corliss
    This spectacle of strenuous improvising is more stunt than true experiment.
    • 75 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
    • 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
    • 59 Metascore
    • 60 Richard Corliss
    In the end, I, Robot is just an assembly-line product of a not very advanced model.
    • 44 Metascore
    • 60 Richard Corliss
    The film's payoff raises more questions than it answers, which may be Shyamalan's intent in this political parable of fear.
    • 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.
    • 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
    • 54 Metascore
    • 60 Richard Corliss
    Allen has assembled an attractive cast and given most of them clich├ęs to inhabit. He has also stinted on inventiveness.
    • 62 Metascore
    • 60 Richard Corliss
    There's enough narrative for three fine films. But not enough for The Interpreter. The thriller pieces feel assembled rather than organic.
    • 58 Metascore
    • 60 Richard Corliss
    So little wit is expended on the dialogue and so much on the imagination of disaster that you may as well sit back and enjoy the jolting ride.
    • 74 Metascore
    • 60 Richard Corliss
    The real battle here is between two generations of acting styles: meticulous method vs. star quality.
    • 81 Metascore
    • 60 Richard Corliss
    This is a Bond with great body but no soul.
    • 57 Metascore
    • 60 Richard Corliss
    Forman and Weller have created an impressive but strangely lopsided movie.
    • 63 Metascore
    • 60 Richard Corliss
    Rumble Fish is the messiest, most provocative inkblot of the year.

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