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

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Gravity
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 92 out of 943
943 movie reviews
    • 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.

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