Richard Corliss
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For 942 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 United 93
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 92 out of 942
942 movie reviews
    • 67 Metascore
    • 90 Richard Corliss
    It’s an enormous, steroidal blast, and as much ingenious fun as a blockbuster can be.
    • 45 Metascore
    • 90 Richard Corliss
    The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.
    • 71 Metascore
    • 90 Richard Corliss
    The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]
    • Time
    • 77 Metascore
    • 90 Richard Corliss
    Tom Ford -- the Texas-born fashion designer who for a decade was the creative director at Gucci -- financed this first feature himself. The producer couldn't have hired a smarter director.
    • 68 Metascore
    • 90 Richard Corliss
    Darren Aronofsky brings wild ambition and thrilling artistry to one of the Old Testament’s best-known, most dramatic, least plausible stories — Noah and the ark — with Russell Crowe infusing the role of God’s first seaman and zookeeper with all his surly majesty.
    • 76 Metascore
    • 90 Richard Corliss
    It's a cagey delight, and an imposing feature directorial debut for one of Britain's TV stalwarts.
    • 86 Metascore
    • 90 Richard Corliss
    The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."
    • 68 Metascore
    • 90 Richard Corliss
    For dinosaurs to rule the earth again, the monsters needed majesty as well as menace. And Spielberg got it all right. [14 June 1993, p.69]
    • Time
    • 60 Metascore
    • 90 Richard Corliss
    This darkly seductive, flawlessly acted piece is worlds removed from most horror films. Here monsters have their grandeur, heroes their gravity. And when they collide, a dance of death ensues between two souls doomed to understand each other.
    • 65 Metascore
    • 90 Richard Corliss
    Funny, hurtful, splendidly acted.
    • 89 Metascore
    • 90 Richard Corliss
    Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]
    • Time
    • 86 Metascore
    • 90 Richard Corliss
    Matthews brings to The Interrupters what every terrific documentary needs: an out-of-nowhere personality with the same magnetic watchability as any Hollywood star.
    • 72 Metascore
    • 90 Richard Corliss
    Rambunctious, disturbing, often hilarious new documentary.
    • 90 Metascore
    • 90 Richard Corliss
    The Incredibles has those characters, that heart.
    • 67 Metascore
    • 90 Richard Corliss
    Nearly a century after that black-and-white cartoon short, and 65 years after a “classic” animated feature that missed the mark, Disney finally got Cinderella right — for now and, happily, ever after.
    • 45 Metascore
    • 90 Richard Corliss
    But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.
    • 75 Metascore
    • 90 Richard Corliss
    Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.
    • 79 Metascore
    • 90 Richard Corliss
    Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.
    • 73 Metascore
    • 90 Richard Corliss
    It blends tension and emotion, computer wizardry and dramatic skill in a vigorous climax--and the most impressive, haunting final shot of the movie year.
    • 84 Metascore
    • 90 Richard Corliss
    The viewer almost has to be a journalist--or a good editor--to sniff out the meat under all the fat.
    • 83 Metascore
    • 90 Richard Corliss
    Big and pretty, vigorous, thoughtful, this Hamlet expands the story with helpful flashbacks.
    • 63 Metascore
    • 90 Richard Corliss
    This is an original work in an antique mood. The actors and authors all have fun with the genre without making fun of it. Rather, they revive it.
    • 87 Metascore
    • 90 Richard Corliss
    The most mature and satisfying work in a glittering, consistently surprising career.
    • Time
    • 86 Metascore
    • 90 Richard Corliss
    The rhythm of rural life has rarely seemed so lucid and luminous.
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    A contemplative crime drama with a high startlement quotient.
    • 87 Metascore
    • 90 Richard Corliss
    The whole rollicking adventure zips along a mile a minute.
    • 76 Metascore
    • 90 Richard Corliss
    Whatever city this one is showing in...move there.
    • 80 Metascore
    • 90 Richard Corliss
    Spielberg's sharpest, brawniest, most bustling entertainment since "Raiders of the Lost Ark" and the finest of the season's action epics.
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    This being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces.
    • 64 Metascore
    • 90 Richard Corliss
    Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.

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