Richard Corliss
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For 932 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 6.7 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Beasts of the Southern Wild
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 92 out of 932
932 movie reviews
    • 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.
    • 47 Metascore
    • 60 Richard Corliss
    It's soppy enough to suit the requirements of the weepie genre...But the movie also has an aching solidity that allows you to surrender to its cuddly-creepy feelings without hating yourself in the morning.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Richard Corliss
    Morning Glory is a cut above most other recent light fare, but not a prime cut.
    • 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.
    • 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.
    • 37 Metascore
    • 60 Richard Corliss
    The Other Woman earns a viewer's respect for the grace notes that director-screenwriter Don Roos finds beneath these familiar tunes, for the unassertive skill with which he paints upper-class life on the Upper East Side, and for the rightness of the performances.
    • 56 Metascore
    • 60 Richard Corliss
    It is the rare conspiracy thriller that ripens as the villains' organization and motives are gradually revealed.
    • 73 Metascore
    • 60 Richard Corliss
    Mission: Impossible – Ghost Protocol is no "Fast Five."
    • 52 Metascore
    • 60 Richard Corliss
    It's a decent February movie that smartly extends Washington's God-on-the-run character.
    • 37 Metascore
    • 60 Richard Corliss
    Wrath of the Titans, like its predecessor, is a slightly-better-than-OK mashing of one of history's great literary troves: the Greek myths.
    • 49 Metascore
    • 60 Richard Corliss
    Guys and gals from the first film, now thicker and with incipient crow lines, pair up in more or less the same permutations as when they were young and shiny. The movie's message is that the way to face impeding maturity is to embrace your inner teen idiot.
    • 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.
    • 51 Metascore
    • 60 Richard Corliss
    There's nothing profound going on here; the truisms don't blossom into life-enriching truths. It's more like the person you meet at a bar who, on second glance, is surprisingly attractive. Call Think Like a Man a perfectly satisfactory one-night stand at the movies.
    • 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.
    • 41 Metascore
    • 60 Richard Corliss
    If the film is to work at all - and it eventually does - the two 27-year-old leads must radiate enough star quality to obviate the ramshackle plot. They just about do.
    • 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.
    • 51 Metascore
    • 60 Richard Corliss
    The acting ensemble is crucial. Everyone's really fine.
    • 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.
    • 74 Metascore
    • 60 Richard Corliss
    This is the rough cut of a good movie, and a splendid opportunity wasted.
    • 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.
    • 61 Metascore
    • 60 Richard Corliss
    Anchorman 2 is more like SNL in the sharper years (1995–2002), when McKay was a writer and Ferrell one of the Not Ready for Prime Time Players. Expect no more and you should be satisfied. Wine connoisseurs would call this a new Burgundy with an old bouquet.
    • 60 Metascore
    • 60 Richard Corliss
    You may salute Lone Survivor for its desperate intensity; but the film remains pinned down by its military and political dilemma: between gung-ho and F—, no.
    • 42 Metascore
    • 60 Richard Corliss
    Provides the familiar cheap thrills but with a salsa tang.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Richard Corliss
    When it shifts into action mode, the movie can be a spectacular rush.
    • 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.
    • 74 Metascore
    • 50 Richard Corliss
    The better class of moviegoers will love Billy Elliot. And I loved hating it.
    • Time
    • 61 Metascore
    • 50 Richard Corliss
    This agitated comedy could be called "The Big Chillin'" if it had a smidge of the 1983 film's wit and charm.
    • 59 Metascore
    • 50 Richard Corliss
    What's true about The Perfect Storm is true of many effects epics: it's not a bad movie, except for the people.
    • 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.
    • 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
    • 42 Metascore
    • 50 Richard Corliss
    A film that's fun to argue with.
    • 49 Metascore
    • 50 Richard Corliss
    You are hereby absolved of all guilt when you laugh your ass off in the first half of the film.
    • Time
    • 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
    • 69 Metascore
    • 50 Richard Corliss
    You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
    • 61 Metascore
    • 50 Richard Corliss
    At the core, though, one finds a slacky, sappy film. The human mystery that breathed so easily in "Shawshank" is often forced here.
    • Time
    • 36 Metascore
    • 50 Richard Corliss
    Corelli is a coffee-table movie: one leafs through the gorgeous vistas and nods through the narrative.
    • Time
    • 59 Metascore
    • 50 Richard Corliss
    AP2 starts out bright and clever--shagnificent, we might almost say--before sinking into a swamp of shagnation.
    • Time
    • 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.
    • 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
    • 52 Metascore
    • 50 Richard Corliss
    The new film is conflicted about its subject -- it both derides and adores what it means to parody -- and it's miscast at the top. Still, the Eve Ahlert -- Dennis Drake script has a gentle heart to humanize its sharp sitcom wit.
    • 32 Metascore
    • 50 Richard Corliss
    Randy and giggly, this is a femme version of "The Man Show."
    • 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
    • 66 Metascore
    • 50 Richard Corliss
    Schrader's objectification of sad and stupid material is neither tragic nor transgressive. It is just undramatic and uninvolving.
    • 54 Metascore
    • 50 Richard Corliss
    This is a good-natured retro romp that is truer to Golden Age movies than to golden oldies songs.
    • 46 Metascore
    • 50 Richard Corliss
    Is comedy a young man's game, like skateboarding or sex? Writing jokes, creating droll characters -- these take ambition, ingenuity and energy, and after decades of devotion to this voracious muse, a fellow can get pooped.
    • Time
    • 48 Metascore
    • 50 Richard Corliss
    Until a vigorous climax, the action scenes have little punch.
    • 68 Metascore
    • 50 Richard Corliss
    A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
    • 73 Metascore
    • 50 Richard Corliss
    Raimi directs the film at Maguire's pensive pace. Some scenes are just inert.
    • Time
    • 57 Metascore
    • 50 Richard Corliss
    Its visual thrills are chilly and wearying compared with the other films' quirky humanity. It's not a megamovie; it's a Sega movie.
    • 33 Metascore
    • 50 Richard Corliss
    54
    All glitz, no glory. [7 September 1998]
    • Time
    • 55 Metascore
    • 50 Richard Corliss
    The Terminal is Spielberg's shortest feature since the first "Jurassic Park," yet it drags, plods, piling one lifeless situation atop another. For all the effort and good intentions, the movie is in-terminal-ble.
    • 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.
    • 48 Metascore
    • 50 Richard Corliss
    The film has a hectic, sitcom air and a full-of-himself hero who is as likely to grate as to ingratiate.
    • 55 Metascore
    • 50 Richard Corliss
    Heart and art can make a beguiling pair. Those are mostly missing in this strained hybrid, which is less Bollywood than Follywood.
    • 62 Metascore
    • 50 Richard Corliss
    She (Blanchett) seems the only guardian of sanity in this good-old-boy Bellevue.
    • 67 Metascore
    • 50 Richard Corliss
    An ideal play is degraded into an indolent film
    • 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.
    • 43 Metascore
    • 50 Richard Corliss
    Neither lurid nor especially compelling. This is the triumph, and the limitation, of 9 Songs: it makes explicit movie sex ordinary--as ordinary as the sexual activities of most of the folks watching it.
    • 33 Metascore
    • 50 Richard Corliss
    Von Trier has a tendency to go overboard in his denunciations of American violence (Dogville). By contrast, Dear Wendy is a cogent, comprehensive take on the land and the films that obsess him.
    • 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.
    • 60 Metascore
    • 50 Richard Corliss
    In Susan Minot's goofy script, Tyler ministers to ailing writer Jeremy Irons and other artsy layabouts while searching for the man on whom to bestow her virginity. The climactic deflowering scene provides the only giggles in an otherwise stodgy mess.
    • 58 Metascore
    • 50 Richard Corliss
    Ask the Dust is the ghost of a cult novel; it can't bring itself to life.
    • 46 Metascore
    • 50 Richard Corliss
    Howard and Goldsman have efficiently touched all the bases. But they haven't found a way to replicate the book's page-turning urgency.
    • 47 Metascore
    • 50 Richard Corliss
    Crowe, despite his loutish rep, is forever surprising viewers by slipping snugly into the disparate characters he plays. This time he surprises by failing. Oh, he can do engaging as smartly as he does stalwart or tortured, but he gets sabotaged by the cloying script.
    • 51 Metascore
    • 50 Richard Corliss
    At heart, though, the story is about the deep, complex, poignant love a man has for his daughter: it's the Lolita syndrome without the lust but with every bit of the doting possessiveness. [30 Dec 1991, p.71]
    • Time
    • 62 Metascore
    • 50 Richard Corliss
    This naive little movie hopes to prove itself the Flashdance of football.
    • 46 Metascore
    • 50 Richard Corliss
    The film, though, lies dormant in its own decency.
    • 44 Metascore
    • 50 Richard Corliss
    The first Rush Hour was a pretty good movie, the second one pretty lame. The threequel is somewhere in between: nothing special but with a high amiability quotient. The two stars know they click; it's no crime for them to extend and exploit that good vibe one more time.
    • 76 Metascore
    • 50 Richard Corliss
    To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
    • 42 Metascore
    • 50 Richard Corliss
    This movie exists wholly in the realm of metaphor, whose messages stick out like placards: Find joy through pain. Reunite with estranged loved ones. Keep hope alive.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Richard Corliss
    I have the anachronistic notion that romantic comedies needn't be exclusively partial to one gender; they should be critical and loving and true to both. So I'll soldier on with my mixed, distant, defiantly ignorant review of this 142-minute trifle -- which comes close to being the longest non-musical romantic comedy in Hollywood history.
    • 24 Metascore
    • 50 Richard Corliss
    The Love Guru is a shambling, hit-or-miss thing, like an old Laurel and Hardy two-reeler. And like the situations those comics often got into, this movie is a fine mess.
    • 49 Metascore
    • 50 Richard Corliss
    It's strenuous, smartly-made and ordinary to an extraordinary degree.
    • 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.
    • 31 Metascore
    • 50 Richard Corliss
    This Mummy movie is really two movies: a good adventure epic, with all the Chinese people, and a wan one, with O'Connells and the other the Westerners.
    • 54 Metascore
    • 50 Richard Corliss
    Hamlet 2 is as needy as its hero -- because it wants not to be probing or profound or even witty but, above all else, to be loved.
    • 57 Metascore
    • 50 Richard Corliss
    In all, Body of Lies is a mixed bag of treats and trials, but it should be seen by audiences, and emulated and improved upon by other top directors.
    • 31 Metascore
    • 50 Richard Corliss
    At least in a video game the player decides who needs to be killed, and what trail to take in the labyrinth. The Max Payne moviegoers are passive hostages on a long ride they've taken so many times before.
    • 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."
    • 46 Metascore
    • 50 Richard Corliss
    Though the movie is no more than agreeable, it does provide a swell showcase for New Zealand wundercomic Rhys Darby (Murray the hapless agent on HBO's Flight of the Conchords) and gives the astrally adorable Zooey Deschanel a rare shot at a lead role in a big Hollywood movie.
    • 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.
    • 44 Metascore
    • 50 Richard Corliss
    The enterprise is sluggish when it's not grinding toward the preposterous.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Richard Corliss
    That heart comes bursting out of Funny People, Apatow's intermittently engaging, 2 hr. 26 min. essay in schizo-cinemaphrenia.
    • 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
    • 57 Metascore
    • 50 Richard Corliss
    In standard-narrative terms, Daybreakers suffers from tired blood. No question the Spierigs are prime film imagineers. What they needed here was a director.
    • 49 Metascore
    • 50 Richard Corliss
    After a while, Nine plays like some Hollywood charity revue.
    • 57 Metascore
    • 50 Richard Corliss
    He (Tony) could be a self-destructive hero out of a Dostoyevsky or Mailer novel. That portrait gives Iron Man 2 its fascination. The rest is a cluttered, clattering toy story.
    • 65 Metascore
    • 50 Richard Corliss
    Shaggily amusing but familiar and way-too-long.
    • 46 Metascore
    • 50 Richard Corliss
    Somewhere in recreational value between an afternoon on a San Diego beach and one at a Detroit public swimming pool. Either way, before you know it, it's evening.
    • 45 Metascore
    • 50 Richard Corliss
    What you will find is both familiar in its contours and unique in its casting: the definitive alterkocker action picture. Call it "The Old Dogs of War," or "Incontinent Basterds."
    • 59 Metascore
    • 50 Richard Corliss
    No deep thoughts here; this is a product of shiny surfaces and glittering patter, the cinematic equivalent of a derivatives offering. Instead of whacking Wall Street, Stone gives it a poke that ends up as a tickle.
    • 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.
    • 53 Metascore
    • 50 Richard Corliss
    Dawn Treader, the name of the ship in the story, should here be rechristened Yawn Treader. If this movie were a bedtime book, the wee ones would be asleep by page two.
    • 50 Metascore
    • 50 Richard Corliss
    The picture is no great shakes as cinema, and a shade too cute for its own good.
    • 53 Metascore
    • 50 Richard Corliss
    The result is a knockoff cinematic ceramic.
    • 60 Metascore
    • 50 Richard Corliss
    It's a clever idea that, around the mid-point, stumbles into absurdity as the movie itself makes too many lunatic choices.
    • 57 Metascore
    • 50 Richard Corliss
    Not bad, but certainly not good; classify the movie as lazy fun.
    • 45 Metascore
    • 50 Richard Corliss
    The movie proved to be an exasperating, fitfully enjoyable jumble of Perryana, full of insult humor, a gospel choir and, not to give too much away, plot elements borrowed from "Chinatown," "Precious," "Imitation of Life" and "Cheech and Chong's Up in Smoke" - all restitched and Tyler-made.
    • 39 Metascore
    • 50 Richard Corliss
    Apart from some spiffy visual effects, which create coherent, scary textures and architecture for outer space, Green Lantern is the most generic of summer time wasters.
    • 42 Metascore
    • 50 Richard Corliss
    The scorekeepers at the various sites that rate critics' enthusiasm for a film shouldn't even try to elicit a Pass or Fail grade from me on T3. I'm a fascinated, stupefied outsider. Just mark me Present.
    • 50 Metascore
    • 50 Richard Corliss
    Gradually, though, the movie sinks into ordinariness, serving up too many Spielbergian reaction shots of each cast member gawking or gulping at an alien encounter, and too many moral lessons that must be learned or taught.
    • 48 Metascore
    • 50 Richard Corliss
    The film also serves as the clearest statement of Glee's sacred mission. Through it, we can see how the entire multimedia phenomenon - the show, the albums, the iTunes hits, the recent concert tour and now this movie - has accrued the odor, say the incense, of a secular religion.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Richard Corliss
    Brewer must have convinced himself that a schlocky old movie would speak eloquently to today's teens. About half of the time, he pulls it off.
    • 53 Metascore
    • 50 Richard Corliss
    It's a great idea that Niccol can't translate into a great movie.
    • 61 Metascore
    • 50 Richard Corliss
    Never to be mistaken for a Christmas classic - or even, strictly speaking, a good movie - H&K 3D Xmas obeys one other solid comedy rule: that after things are broken, they must be repaired and restored.
    • 59 Metascore
    • 50 Richard Corliss
    The film manages to be both sensational and stodgy, like a guided tour that goes on until it drones.
    • 46 Metascore
    • 50 Richard Corliss
    The pity is that Tarsem's intelligence doesn't connect his cinematic eye to his narrative mind. The director's visual gift is like a brilliant retina, detached.
    • 71 Metascore
    • 50 Richard Corliss
    By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."
    • 48 Metascore
    • 50 Richard Corliss
    Fresh inspiration is sparse here; the sequel is less an extension than a remake. Holmes says of one of his lamer disguises, "It's so overt, it's covert." And the shadow in this game is the imposing penumbra of Ritchie's very satisfying 2009 film. It's overt and overwhelming.
    • 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.
    • 44 Metascore
    • 50 Richard Corliss
    The critic in me can authoritatively declare that the film is crap. The fan in me sent his shirt to the dry cleaners for tear removal.
    • 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.
    • 69 Metascore
    • 50 Richard Corliss
    Simultaneously diverting and annoying.
    • 51 Metascore
    • 50 Richard Corliss
    The result is that John Carter plays like an alternate, inferior version of "Avatar"…Plus fleeting hints of John Ford's "The Searchers" - for this is also a Western.
    • 67 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.
    • 56 Metascore
    • 50 Richard Corliss
    Theirs was a ruthless Cinema of Cruelty; this is whimsy with a coating of corrosion.
    • 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.
    • 43 Metascore
    • 50 Richard Corliss
    The new PG-13 movie is a fairly close adaptation of the Verhoeven, and lacks not just the earlier film's newness but its vigor, density, humor and R-rated juice. It's like the dinner-theater revival of a classic play, whose single asset is to remind those present how good the original was.
    • 43 Metascore
    • 50 Richard Corliss
    360
    No scene lasts more than a few minutes, but the overall is effect is being subjected to 105 mins. of YouTube vignettes that someone has chosen. 360 is probably best appreciated or endured on a long flight similar to the one Hopkins takes in the movie.
    • 61 Metascore
    • 50 Richard Corliss
    The overall tone is familiar, refried, redundant.
    • 58 Metascore
    • 50 Richard Corliss
    Lawless tries to be flawless; as a movie, it's often listless - lifeless.
    • 48 Metascore
    • 50 Richard Corliss
    In this bad-better-best movie, the Flik story is the bad, the choir singing much better and Peters the soul-stirring best.
    • 52 Metascore
    • 50 Richard Corliss
    Keough is nearly worth risking life (Diane's) and limb (Martin's) for. The eldest grandchild of Elvis and Priscilla Presley, she has a pale, dreamy lusciousness that puts as viewer in mind of Amanda Seyfried, though without the overt sexuality. Her not-quite-there appeal matches both the opacity of Martin's intentions and the entire underhanded, underwhelming experience that The Good Doctor offers.
    • 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.
    • 86 Metascore
    • 50 Richard Corliss
    In terms of quality, though, Argo is just so-so.
    • 55 Metascore
    • 50 Richard Corliss
    Most viewers are likely to be impressed more by the magnitude of the effort than the magnificence of the effect. Cloud Atlas is a Terry Gilliam movie without the kinks, a Wong Kar-wai film without the smoky dreamscape, a time-and-Space Oddity that remains frustratingly earthbound. Put it another way: this is no "Speed Racer."
    • 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.
    • 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.
    • 52 Metascore
    • 50 Richard Corliss
    Deadfall, though, is a thing of pieces: splendidly efficient in its action sequences (car crash, knife fight, snowmobile chase), dawdling in dialogue scenes that should smolder with tension.
    • 58 Metascore
    • 50 Richard Corliss
    The movie lacks majesty. Grand in parts, the movie is too often grandiose or grandiloquent; and the running time is indefensible.
    • 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.
    • 50 Metascore
    • 50 Richard Corliss
    Even when the film is cool, it manages to be wrong.
    • 56 Metascore
    • 50 Richard Corliss
    The archivist's meticulousness with which this movie was assembled defeats the starving-hysterical-naked urgency of its source material. Could the old Hollywood pharisees have been right? Maybe On the Road is unfilmable.
    • 21 Metascore
    • 50 Richard Corliss
    The blend of fairy-tale sentiment and knowing irony worked exactly once, in "The Princess Bride," and fails here. But there's enough visual ingenuity - eye candy, if you will - to make this Hansel & Gretel an intermittently tasty temptation.
    • 44 Metascore
    • 50 Richard Corliss
    Raimi, who launched his career with the cheapo horror mini-masterpiece "The Evil Dead" before helming the blockbuster "Spider-Man" trilogy, can’t infuse the story with much verve or joy.
    • 55 Metascore
    • 50 Richard Corliss
    It’s "Identity Thief" with flying piranhas, or Plains, Trains & Automobiles on foot.
    • 54 Metascore
    • 50 Richard Corliss
    In space, Jack hopes, someone may hear you dream. But in a movie theater, no one will see you yawn.
    • 40 Metascore
    • 50 Richard Corliss
    X-Men Origins: Wolverine is an O.K., not great, Marvel movie...Wolverine doesn't rise above the level of familiar competence.
    • 64 Metascore
    • 50 Richard Corliss
    You get 45 minutes of awesome encased in 90 minutes of yawnsome.
    • 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.
    • 49 Metascore
    • 50 Richard Corliss
    Like Martin Scorsese’s "The Departed," a bloated Americanizing of the Hong Kong cop movie "Infernal Affairs," the Lee Oldboy will startle newbies with its story ingenuities and morbid revelations, while leaving connoisseurs of the source film wondering why Hollywood couldn’t have left great enough alone.
    • 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.
    • 30 Metascore
    • 50 Richard Corliss
    Ambitious of vision and swooping of camera, I, Frankenstein is no "I, Robot," let alone "I, Claudius," but it’s definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
    • 40 Metascore
    • 50 Richard Corliss
    If the movie had been content to replicate the Taken formula, and left the fatherhood angle as a subtext, it would be easier to take. Instead, even for Costner admirers, it’s a hard 2 hours to kill.
    • 39 Metascore
    • 50 Richard Corliss
    A wildly flawed but fitfully diverting picture.
    • 56 Metascore
    • 50 Richard Corliss
    Shot in grainy, unflattering closeups occasionally alleviated by flashily edited fight scenes, Non-Stop is no more or less than what it intends to be: the kind of midlevel brainless entertainment you might watch, between meals and naps, on an international flight. Try to enjoy the ride — and no texting, please.
    • 49 Metascore
    • 50 Richard Corliss
    A little less agreeable and way more aggressive than its better begetter, Rio 2 has the overstuffed agenda of a movie that’s been focus-grouped to death.
    • 42 Metascore
    • 50 Richard Corliss
    Clever ideas early on go rogue, or go missing, in the gallop toward an action-film climax that then, perversely, doesn’t materialize. The movie’s intelligence is artificial, its affect solemn.
    • 68 Metascore
    • 50 Richard Corliss
    Tries anything for a gross-out laugh — but feels oh-so-familiar
    • 76 Metascore
    • 50 Richard Corliss
    It’s a bit of a botch.
    • 55 Metascore
    • 50 Richard Corliss
    The Hundred-Foot Journey is on a mission to make you cry. Whether you oblige will depend on your fondness for, or immunity to, the gentler stereotypes of movie romance.
    • 44 Metascore
    • 50 Richard Corliss
    So put it this way: If the Altmans were a real family sitting shiva, I’d drop by to commiserate and give a cheek-kiss to a few of the mourners (Bateman, Driver, Fey, maybe Fonda). I enjoyed seeing them, but I’d hate to be sentenced to being with them for the full seven-day stretch.
    • 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.
    • 45 Metascore
    • 50 Richard Corliss
    The joke barrage becomes hit-or-miss, as if the creators — including screenwriter Dan Stewart, working from a story by Rogen and Greenberg — don’t know or care which is which.
    • 33 Metascore
    • 40 Richard Corliss
    The first few minutes have promise (with an all-star list of Gen-X actors), and the last few minutes provide fun (with snapshots of lovers and losers). In between there is a void--feeble jokes, a lot of falling down and foolish declarations.
    • 49 Metascore
    • 40 Richard Corliss
    The skitcom format soon becomes tiresome.
    • Time
    • 37 Metascore
    • 40 Richard Corliss
    Mostly the movie is like the marriage: good casting, golden promise, yet somehow a grating ordeal.
    • Time
    • 35 Metascore
    • 40 Richard Corliss
    It's too empty to applaud, too insignificant to deplore.
    • 72 Metascore
    • 40 Richard Corliss
    A movie this implausible shouldn't be this dull.
    • 73 Metascore
    • 40 Richard Corliss
    Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
    • 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.
    • 55 Metascore
    • 40 Richard Corliss
    Donen got it gloriously right the first time. Why do it again? And why do it like this?
    • 35 Metascore
    • 40 Richard Corliss
    Kasdan has been a serious filmmaker, so he gives the goofiness a smart look and some pertinent metaphors about Americans wrongfully detained. But the aim is no higher than the impulse of old schlockmeisters like Roger Corman and Ed Wood: to get the audience to scream.
    • 85 Metascore
    • 40 Richard Corliss
    All attitude and low aptitude.
    • 74 Metascore
    • 40 Richard Corliss
    Doesn't offer much.
    • 28 Metascore
    • 40 Richard Corliss
    As the director of this noble weepie, Nelson so overuses visual tricks -- zooms, zip pans and multiple perspectives on a simple scene -- that she turns the viewer into an exasperated parent; this is a directorial style in need of a spanking.
    • Time
    • 45 Metascore
    • 40 Richard Corliss
    The film (directed by Andy Tennant) has more problems than Melanie, and they're insoluble. Its lazy calculation telegraphs each plot turn and underlines emotions with corn-pone music.
    • 27 Metascore
    • 40 Richard Corliss
    The story has to carry way too much weight, as war remorse battles McCarthyism. The Majestic's makers don't get what made Capra movies invigorating.
    • Time
    • 65 Metascore
    • 40 Richard Corliss
    An idiot-savant movie, knowing but not smart.
    • 70 Metascore
    • 40 Richard Corliss
    In this space epic, no one will hear you laugh.
    • 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.
    • 74 Metascore
    • 40 Richard Corliss
    The film is one-note; misery is the only game in town.
    • 60 Metascore
    • 40 Richard Corliss
    It yearns for Pixar-style wit without quite earning it.
    • 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.
    • 58 Metascore
    • 40 Richard Corliss
    The film fairly groans from all the narrative gamesmanship and lavish romantic gestures...The unbewitched viewer may groan as well.
    • 45 Metascore
    • 40 Richard Corliss
    Maybe Wellesley isn't the only injured party here. Can an audience sue for cruel and edifying punishment?
    • 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
    • 67 Metascore
    • 40 Richard Corliss
    Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
    • 47 Metascore
    • 40 Richard Corliss
    Tin tailspins into silliness and never regains its flight pattern.
    • 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.
    • 59 Metascore
    • 40 Richard Corliss
    A vampire story needs vampires, sure, but it also needs a human victim to lead the audience into the vortex and help them escape it. Otherwise, the fear factor evaporates, and you get this mishmash: an interview in a void, a vampire movie with underbite.
    • 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.
    • 58 Metascore
    • 40 Richard Corliss
    Tom Cruise heads a tony cast in a best-seller movie that is firm at the start and infirm by the end.
    • 36 Metascore
    • 40 Richard Corliss
    Lady doesn't work. Although he detonates a few terrific frissons involving the scrunt, the stabs at comedy are lurching and arrant. The spreading of tension from one character to many dilutes the mood. The would-be rapturous Spielbergian ending is on the wussy side.
    • 48 Metascore
    • 40 Richard Corliss
    At this late stage in a long career, Allen might consider not trying to make films like the early, funny ones. Instead he should aim simply to match "Match Point."
    • 54 Metascore
    • 40 Richard Corliss
    Copycat, directed by Jon Amiel ("The Singing Detective", "Sommersby"), means to be a Greatest Hits album of atrocities. A sick mind is a terrible thing to waste. [13 Nov 1995, pg.120]
    • Time
    • 73 Metascore
    • 40 Richard Corliss
    The film causes no tremors, only a hemi-Demme-semiquaver.
    • 43 Metascore
    • 40 Richard Corliss
    M. Butterfly, the David Cronenberg film of David Henry Hwang's Broadway play, fumbles its romantic and political metaphors and loses the game.
    • 44 Metascore
    • 40 Richard Corliss
    Last Action Hero starts out mostly nuts, and winds up mostly bolts. Or, rather, winds down. That's a problem with pastiche: it must be constantly jump-started with ingenuity, and even that ultimately pales. By the end, nothing matters. [21 June 1993, p67]
    • 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
    • 44 Metascore
    • 40 Richard Corliss
    Warm-hearted humanism is glopped all over Renaissance Man in the hopes that we won't notice that the story makes no sense.
    • 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
    • 56 Metascore
    • 40 Richard Corliss
    The entire film is in fact a ferocious meditation on the dilemma of a son choosing his father. Which one will Bud emulate: the noble failure or the triumphant sleaze? The outcome is never really in doubt, so streamlined and predictable are the characters. [14 Dec 1987, p.82]
    • Time
    • 38 Metascore
    • 40 Richard Corliss
    "Wanna see something really scary?" asks Guest Star Dan Aykroyd at film's end. The Miller and Dante episodes are. So is the epic waste that informs much of this movie. [20 June 1983, p.73]
    • Time
    • 61 Metascore
    • 40 Richard Corliss
    The film has just enough collisions to be a crashing bore.
    • 42 Metascore
    • 40 Richard Corliss
    The movie is less ho-ho-ho than uh-oh, or oh-no. Emitting a stale odor from the first reel, Fred never engaged the audience of kids and adults that I saw it with.
    • 47 Metascore
    • 40 Richard Corliss
    Swing Vote falls from agreeable fable into wan satire.
    • 56 Metascore
    • 40 Richard Corliss
    W.
    The movie is an X-ray of an invisible man -- by the film's end, the W. still stands for Who?
    • 36 Metascore
    • 40 Richard Corliss
    Instead of the meeting of maestros at the top of their form, Righteous Kill has the feeling of Roger Clemens and Barry Bonds facing off for the first time in an exhibition game. It's like Old Timers' Day at the Motion Picture Home.
    • 50 Metascore
    • 40 Richard Corliss
    The film promises so much more than it delivers that, by the end, I felt like registering a complaint with the Obama Administration's Consumer Protection squad.
    • 58 Metascore
    • 40 Richard Corliss
    A bloated, criminally judgmental borderline-comedy.
    • 32 Metascore
    • 40 Richard Corliss
    Ferrell's latest excursion into delusions of manhood is director Brad Silberling's Land of the Lost, an action comedy with the sloppy construction and saving grace notes of the star's other movies.
    • 65 Metascore
    • 40 Richard Corliss
    Alas, in Tetro he (Coppola) has made a movie in which plenty happens but nothing rings true.
    • 45 Metascore
    • 40 Richard Corliss
    An ambitious but sub-ordinary SF epic in which, as so often, Willis is better than his material.
    • 34 Metascore
    • 40 Richard Corliss
    Osunsanmi wants you to believe that everything he shows you that's not reenacted by professionals really happened, and is documented by the omnipresent video cameras. It's a device used far more successfully in "Paranormal Activity," which had the added benefit of being a good movie.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Richard Corliss
    The Rite is all windup, weak delivery.
    • 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.
    • 30 Metascore
    • 40 Richard Corliss
    It's all mildly deplorable and instantly forgettable. Kevin James remains a potentially appealing movie star - if only he didn't have to be in Kevin James movies.
    • 36 Metascore
    • 40 Richard Corliss
    A gaudily ornamented medieval banquet table groaning with junk food and open entrails.
    • 35 Metascore
    • 40 Richard Corliss
    The director is going through the motions, and he doesn't display the cinematic skill, at least in the release version, to bring off an exercise in either Hitchcockian or Shyamalanian suspense.
    • 61 Metascore
    • 40 Richard Corliss
    At 78, Polanski has earned the right to pursue his career-long demons of confinement and anarchy even in a minor film like this. But Carnage is not the word for what he's perpetrated here. Minor irritation is more like it.
    • 38 Metascore
    • 40 Richard Corliss
    All three give performances that would suit a better movie than this pallid shocker with little heart and no bite.
    • 42 Metascore
    • 40 Richard Corliss
    Watching this is like flipping channels randomly between a Masterpiece Theatre drama and a splatter film on Cinemax. If you're like me, you'll stick with the splatter.
    • 36 Metascore
    • 40 Richard Corliss
    You're unlikely to laugh much, and you may get an unexpected case of the non-art-imitates-bad-life creeps.
    • 40 Metascore
    • 40 Richard Corliss
    There's a point at which movies become only merchandise, and the Paranormal franchise may be heading for that nexus, that nadir.
    • 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.
    • 55 Metascore
    • 40 Richard Corliss
    Left-wingers in the mainstream media - by which I mean me - are supposed to lap up a movie that plays to our farm-loving, tree-hugging prejudices. But even we know that well-meaning does not automatically equal good movie. Some organic life is needed. And the only crop Promised Land harvests is Capra Corn.
    • 37 Metascore
    • 40 Richard Corliss
    It’s got too much on its mind, and it’s unsure of its tone. This is the rough cut of a slimmer, better movie
    • 48 Metascore
    • 40 Richard Corliss
    Its tone swings violently from pratfall to preachment, from an indictment of featherbed laziness to an extended beer-commercial celebration of the mythical American worker.
    • 54 Metascore
    • 40 Richard Corliss
    The clutter makes your head feel like it's about to explode - and not in a good way, with wonders upon wonders. Instead it seems like arcana that might show up on the midterm final: the next Marvel movie.
    • 41 Metascore
    • 40 Richard Corliss
    Too bad that Ride Along never makes it to Ordinary; it sinks into sub-. This is a movie you keep watching only from lethargy.
    • 57 Metascore
    • 40 Richard Corliss
    Bad Words seems to be heading into the creepy realm of a sociopath’s case study, yet it’s presented as a breezy satire about a rebel against the system. It must be the Dictionary-Industrious Complex.
    • 39 Metascore
    • 40 Richard Corliss
    And yet, all three women are less watchable and amusing that Nicki Minaj as Carly’s legal assistant Lydia.
    • 53 Metascore
    • 40 Richard Corliss
    Frantic and rote by turns, mislaying the power of the central love story and piling on the mutant adversaries. For at least this installment, Spider-Man is Amazing no more.
    • 54 Metascore
    • 40 Richard Corliss
    So why is the Jersey Boys film a turgid botch? Eastwood’s résumé hints at a reason. His affinity is for American standards as improvised on piano or guitar by indigenous artists in smoky nightclubs, not for the tightly wound, impeccably pounding songs that Bob Gaudio and Bob Crewe wrote for the Four Seasons.
    • 35 Metascore
    • 40 Richard Corliss
    Studying the topography of decay in a veteran actor’s face is one of the few worthy pursuits for moviegoers sitting through the epic-length, belligerently inconsequential The Expendables 3 — a picture whose very title proclaims its redundancy.
    • 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
    • 59 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.
    • 35 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.
    • 38 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?
    • 60 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.
    • 46 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.
    • 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

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