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

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Edward Scissorhands
Lowest review score: 0 The Last Airbender
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.
    • 44 Metascore
    • 60 Richard Corliss
    Until The Raven almost literally loses itself during a chase in the city sewers, it nicely balances its literary gamesmanship with a R-rated thriller's mandatory gross-out tableaux.
    • 74 Metascore
    • 60 Richard Corliss
    This is the rough cut of a good movie, and a splendid opportunity wasted.
    • 34 Metascore
    • 60 Richard Corliss
    Laughter trumps political fairness, and Get Hard made me laugh at, and with, situations I hadn’t thought could tickle me. The movie has a warm heart beating under its seemingly scabrous shell.
    • 51 Metascore
    • 60 Richard Corliss
    There's something missing, beyond the iconoclastic theology, in this perfectly OK, blandly underwhelming superproduction. The movie lacks an elevating passion, a cohesive vision, a soul. It's as if The Golden Compass has misplaced its artistic compass. Somebody stole its daemon.
    • 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.
    • 51 Metascore
    • 60 Richard Corliss
    The acting ensemble is crucial. Everyone's really fine.
    • 39 Metascore
    • 60 Richard Corliss
    This is cinema reduced or distilled to its purest definition, of movies that move. If you want dewy humanity in your entertainment, watch Lifetime.
    • 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
    • 57 Metascore
    • 60 Richard Corliss
    Morning Glory is a cut above most other recent light fare, but not a prime cut.
    • 55 Metascore
    • 60 Richard Corliss
    It's an efficient thriller, with scare weapons ranging from the primitive (a pitchfork) to the apocalyptic (an A bomb). The acting is only horror-film-functional, and you might wish that our trio of renegades knew a few basic laws of the genre.
    • 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
    • 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.
    • 58 Metascore
    • 60 Richard Corliss
    The movie is less to be experienced than to be appreciatively studied, like an insect, a stuffed bird, or the sketch by a gifted artist in the style of an Old Master — in this case, the Master of Suspense. It’s not pure Park or pure Hitchcock but a muted, mildly mesmerizing blend of the two. You might want to take a careful stroll in this Hitchpark.
    • 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.
    • 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
    • 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.
    • 56 Metascore
    • 60 Richard Corliss
    Romantic comedies often make do on flimsy premises, but this one is thinner than Kate Moss and nuttier than an Almond Joy.
    • 48 Metascore
    • 60 Richard Corliss
    For all the energetic milling, Rise of an Empire proves superior to its predecessor by making war a game both sexes can play, on nearly equal terms. In comparison, the R-rated "300" seems as innocent as Adam in the Garden before the delicious complication of Eve — or Eva.
    • 54 Metascore
    • 60 Richard Corliss
    Allen has assembled an attractive cast and given most of them clichés to inhabit. He has also stinted on inventiveness.
    • 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.
    • 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.
    • 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
    • 62 Metascore
    • 60 Richard Corliss
    The Keane story is a rich parable that deserves either a wilder or a more acute telling than Burton provides here.
    • 51 Metascore
    • 60 Richard Corliss
    By the end-credit sequence, when the stars appear in spandex outfits to reprise Dancing Queen, the audience may be singing along as if they'd overdosed on ouzo.
    • 62 Metascore
    • 60 Richard Corliss
    Flouting all rules of the sea but honoring every war-epic cliche about guts under pressure.
    • 42 Metascore
    • 60 Richard Corliss
    Provides the familiar cheap thrills but with a salsa tang.
    • 36 Metascore
    • 60 Richard Corliss
    This is what lifts Seven Pounds above other Smith dramas -- he does tentatively allow another adult onto his solitary planet.
    • 43 Metascore
    • 60 Richard Corliss
    The Lady is still titled away from the churning melodrama of Suu Kyi's country and toward the intimate dilemma of a loving couple forced apart by circumstance.
    • 56 Metascore
    • 60 Richard Corliss
    It is the rare conspiracy thriller that ripens as the villains' organization and motives are gradually revealed.

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