Richard Corliss
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For 923 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 Hugo
Lowest review score: 0 Untraceable
Score distribution:
  1. Negative: 91 out of 923
923 movie reviews
    • 86 Metascore
    • 80 Richard Corliss
    At times Dead Ringers also tilts out of coherence, with scenes that are dramatically stillborn. But Irons is splendid in both roles, and Cronenberg can create tour-de-force tableaux with his effortless black magic. [26 Sept 1988]
    • Time
    • 86 Metascore
    • 80 Richard Corliss
    Alvin's tragic memories give perspective to the triumph of his trek, even as Farnsworth's weathered brilliance makes this movie a G as in gem.
    • 88 Metascore
    • 80 Richard Corliss
    If this sounds like an old-fashioned sex comedy, it is -- sexy, for sure, and funny, in wild spurts.
    • 81 Metascore
    • 80 Richard Corliss
    Cool, shiny, handsomely made and, in its compelling-repelling way, mordantly funny.
    • 74 Metascore
    • 80 Richard Corliss
    An excellent film. [16 Jan 1989, p.64]
    • Time
    • 74 Metascore
    • 80 Richard Corliss
    Elia Suleiman's Divine Intervention is a cure for nagging ethnic generalities. This Palestinian sort-of-comedy has a sly wit that amuses and disturbs in equal, salubrious measure.
    • 64 Metascore
    • 80 Richard Corliss
    Seduction is more important than deduction in this chic display of star quality to the eighth power.
    • 72 Metascore
    • 80 Richard Corliss
    Nettelbeck is a sharp observer of life's surprises, and Gedeck has an appraising, intelligent beauty. Her Martha is like the film: tart on the outside, sweet on the inside, with a delectable aftertaste.
    • 65 Metascore
    • 80 Richard Corliss
    A.I. will beguile some viewers, perplex others. Its vision is too capacious, its narrative route too extended, the shift in tone (from suburban domestic to rural nightmare to urban archaeology) too ornery to make the film a flat-out wowser of the E.T. stripe.
    • 64 Metascore
    • 80 Richard Corliss
    Quite a good movie--a big, fat, rousing, intelligent, daring, retro, many-adjective-requiring entertainment.
    • Time
    • 60 Metascore
    • 80 Richard Corliss
    Isn't an audience that was nurtured on the doomsday screeds of art-house cinema entitled to vacation in the warmth of a superior film about a boy with almost too many people to love?
    • 73 Metascore
    • 80 Richard Corliss
    Here's another warning: you may laugh yourself sick--as sick as this ruthlessly funny movie is.
    • 66 Metascore
    • 80 Richard Corliss
    The film dances; the heart sings.
    • Time
    • 73 Metascore
    • 80 Richard Corliss
    Boyle's ingenuity with the camera gives this fraught journey plenty of menace and pizazz.
    • 73 Metascore
    • 80 Richard Corliss
    It's a bright, engaging bauble with half a dozen Elvis Presley songs for Mom and Dad, and just enough sass -- Stitch sticks his tongue into his nose and eats his snot -- to keep the tweeners giggling.
    • 76 Metascore
    • 80 Richard Corliss
    Writer-director Ramsay neither sentimentalizes nor garishes up the lost children in this observant and poetic drama.
    • 82 Metascore
    • 80 Richard Corliss
    It's a long drink of water at the fountain of pop-social memory.
    • 71 Metascore
    • 80 Richard Corliss
    Even when the movie sags and strains a bit in Act III, Clooney keeps it flying with old-fashioned movie-star allure. He's got it all: Cary Grant's looks and, inside, Bob Hope's snake-oil-salesman soul.
    • 57 Metascore
    • 80 Richard Corliss
    Elegant, thoughtful film.
    • 47 Metascore
    • 80 Richard Corliss
    The trilogy ascends and soars with the two combatants and ends not with a whimper but with a blast of light. Thus the fabulous original film has found an honorable way to sign off. For those who didn't bother to join the early crowds, The Matrix Revolutions is a definite might see.
    • 72 Metascore
    • 80 Richard Corliss
    [Murray] has the natural actor's charm of making manners matter. He carries Groundhog Day with his uniquely frittery nonchalance and makes the movie a comic time warp anyone should be happy to get stuck in. [15 Feb 1993, p.63]
    • Time
    • 47 Metascore
    • 80 Richard Corliss
    A serious, handsome, excruciating film that radiates total commitment.
    • 68 Metascore
    • 80 Richard Corliss
    A romantic comedy so smart and sweetly mature, it's liberating.
    • 78 Metascore
    • 80 Richard Corliss
    In a movie age when there's hardly a garde, let alone an avant-garde, Maddin proves there are many languages to cinema, including the dead one of antique film. And in that language, he sings, he soars.
    • 56 Metascore
    • 80 Richard Corliss
    In this vigorous, stalwart epic, they blend martial breadth and emotional intimacy, honor and obsession, romance and machismo to show the glamour and folly of war.
    • 82 Metascore
    • 80 Richard Corliss
    Enjoy the savory witches' brew that Cuaron has cooked up in his Harry pot. For on its own terms, this one is truly wizard.
    • 79 Metascore
    • 80 Richard Corliss
    The movie wants to entertain and educate, not leer, about people flummoxed by participating in a revolution they had meant only to calibrate, and at that it succeeds handsomely.
    • 69 Metascore
    • 80 Richard Corliss
    Pummeling, exhilarating.
    • 63 Metascore
    • 80 Richard Corliss
    Pacino seems to recall, from his early Michael Corleone days, the power of whispered menace.
    • 75 Metascore
    • 80 Richard Corliss
    The film's spare wit is as applicable to Broward County as to the Persian Gulf. Secret Ballot offers further evidence that an Islamic regime can foster humanist satires with a critical, political edge.