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

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Curious Case of Benjamin Button
Lowest review score: 0 Ace Ventura: When Nature Calls
Score distribution:
  1. Negative: 92 out of 943
943 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Richard Corliss
    The picture is no great shakes as cinema, and a shade too cute for its own good.
    • 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.
    • 76 Metascore
    • 50 Richard Corliss
    It’s a bit of a botch.
    • 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.
    • 76 Metascore
    • 50 Richard Corliss
    To find that valuable truth, you have to dig through an avalanche of d--- jokes and strenuous slapstick.
    • 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.
    • 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.
    • 62 Metascore
    • 50 Richard Corliss
    This naive little movie hopes to prove itself the Flashdance of football.
    • 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.
    • 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.
    • 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.
    • 75 Metascore
    • 50 Richard Corliss
    A humongous, visionary parable that intermittently enthralls and ultimately disappoints. [8 July 1991, p.55]
    • Time
    • 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.
    • 46 Metascore
    • 50 Richard Corliss
    The film, though, lies dormant in its own decency.
    • 68 Metascore
    • 50 Richard Corliss
    Tries anything for a gross-out laugh — but feels oh-so-familiar
    • 86 Metascore
    • 50 Richard Corliss
    In terms of quality, though, Argo is just so-so.
    • 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.
    • 64 Metascore
    • 50 Richard Corliss
    You get 45 minutes of awesome encased in 90 minutes of yawnsome.
    • 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.
    • 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.

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