Richard Corliss

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For 946 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 5.7 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Goodfellas
Lowest review score: 0 W.E.
Score distribution:
  1. Negative: 92 out of 946
946 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    You could get drunk, or ill, on the high dose of whimsy in Amelie.
    • Time
    • 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.
    • 73 Metascore
    • 40 Richard Corliss
    Soderbergh slices, dices and Cuisinarts the script into flashbacks, scene shifts, stop motion and other distracting foolery.
    • 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.
    • 39 Metascore
    • 40 Richard Corliss
    And yet, all three women are less watchable and amusing that Nicki Minaj as Carly’s legal assistant Lydia.
    • 47 Metascore
    • 40 Richard Corliss
    Swing Vote falls from agreeable fable into wan satire.
    • 67 Metascore
    • 40 Richard Corliss
    Finding Neverland takes a big, brave leap and lands splat on the sidewalk.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 40 Richard Corliss
    The film causes no tremors, only a hemi-Demme-semiquaver.
    • 65 Metascore
    • 40 Richard Corliss
    An idiot-savant movie, knowing but not smart.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 40 Richard Corliss
    The Rite is all windup, weak delivery.
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 40 Richard Corliss
    Donen got it gloriously right the first time. Why do it again? And why do it like this?
    • 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.
    • 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.
    • 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.
    • 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.

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