Richard Corliss
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For 933 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 6.6 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Sin City
Lowest review score: 0 Untraceable
Score distribution:
  1. Negative: 92 out of 933
933 movie reviews
    • 78 Metascore
    • 90 Richard Corliss
    Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]
    • Time
    • 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
    • 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.
    • 90 Metascore
    • 90 Richard Corliss
    Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
    • 72 Metascore
    • 90 Richard Corliss
    Rambunctious, disturbing, often hilarious new documentary.
    • 89 Metascore
    • 90 Richard Corliss
    Watch Murray's eyes in the climactic scene in the hotel lobby: while hardly moving, they express the collapsing of all hopes, the return to a sleepwalking status quo. You won't find a subtler, funnier or more poignant performance this year than this quietly astonishing turn.
    • 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.
    • 74 Metascore
    • 90 Richard Corliss
    This is rapture in pictures. [22 December 1997, p. 81]
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]
    • Time
    • 72 Metascore
    • 90 Richard Corliss
    This daring, perhaps confusing declaration of irrelevance suggests that the epic is a form a director like Scorsese must subvert even as he invokes it. But it doesn't erase the sordid splendor of Scorsese's congested, conflicted, entrancing achievement.
    • 90 Metascore
    • 90 Richard Corliss
    Weird, beguiling premise.
    • 90 Metascore
    • 90 Richard Corliss
    Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.
    • 67 Metascore
    • 90 Richard Corliss
    As bustling and impassioned as the best Sturges and Capra movies, this one captures both the purposeful edginess of Administration Pooh-Bahs (Martin Sheen, Michael J. Fox, David Paymer and Samantha Mathis--nice jobs, all) and the isolation of the President. [20 Nov 1995, p.117]
    • Time
    • 89 Metascore
    • 90 Richard Corliss
    Kaufman may be counting on the audience's will, insistence and yearning to create a coherent love story from the shards and shrapnel he provides us.
    • 88 Metascore
    • 90 Richard Corliss
    In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time
    • 90 Metascore
    • 90 Richard Corliss
    The Incredibles has those characters, that heart.
    • 81 Metascore
    • 90 Richard Corliss
    Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
    • 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
    • 73 Metascore
    • 90 Richard Corliss
    Ray
    If there were an Oscar for ensemble acting, Ray would win in a stroll.
    • 76 Metascore
    • 90 Richard Corliss
    Can a movie have too much good stuff? Not when it's stuffed like this one.
    • 65 Metascore
    • 90 Richard Corliss
    Funny, hurtful, splendidly acted.
    • 79 Metascore
    • 90 Richard Corliss
    Wings of Desire works hard to be both an essay and a love story, a mural and an intimate portrait. To savor this film, the viewer must work hard too. But when the artists behind the screen and the angels in the audience meet, it's like a smoke and coffee: fantastic! (1998 May 9, p. 79)
    • Time
    • 78 Metascore
    • 90 Richard Corliss
    The poise and passion in Eve's Bayou leave one grateful, exhausted and nourished. For the restless spirit, here is true soul food.
    • 58 Metascore
    • 90 Richard Corliss
    Because she also has a classical heroine's sense of quest, the picture's Pocahontas rises above stodgy old legend into the sky of myth... That's apt for a role model for any child, red or white. And it's perfect for a film romance that earns a place of honor among Disney's latter-day animated film stunners.
    • 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
    But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
    • 79 Metascore
    • 90 Richard Corliss
    The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.
    • 68 Metascore
    • 90 Richard Corliss
    A careful, finally powerful film.
    • 89 Metascore
    • 90 Richard Corliss
    It could as well be called Best Thing of Undetermined Species.
    • 79 Metascore
    • 90 Richard Corliss
    A gross-your-eyes-out horror movie that is also the year's most poignant romance.

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