Richard Corliss

Select another critic »
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 Four Lions
Lowest review score: 0 Cocktail
Score distribution:
  1. Negative: 92 out of 946
946 movie reviews
    • 56 Metascore
    • 70 Richard Corliss
    An agreeable time-waster for the onlookers and its star. The Rum Diary isn't a corrective to Johnny Depp's kid-centric career, more like a vacation from it, in a resort where the visitors are strange, the natives are restless and the flow of alcohol endless.
    • 77 Metascore
    • 70 Richard Corliss
    We should hail a movie that recalls creepy political thrillers of the mid-'70s, back when some films were made for grownups and the comfortable catharsis of a happy ending was not required -- think of the panoramically cryptic worldview of "The Parallax View" and "Three Days of the Condor," and of course, "Chinatown."
    • 67 Metascore
    • 70 Richard Corliss
    The new Panda has a bright palette, an amiable vibe and enough vivacity to keep kids entertained and any accompanying moms from bolting for "Bridesmaids."
    • 55 Metascore
    • 70 Richard Corliss
    O.K., Ritchie mistakes flash for style. Perhaps that's the price you pay for storytelling exuberance. If he keeps making films as down and witty as Snatch, we may learn to forgive him.
    • Time
    • 70 Metascore
    • 70 Richard Corliss
    The picture is worth catching for the delicate and toxic nuances of Rudd's performance. And one of its funniest corollaries is that it shows how hilarious and instructive a star this perennial supporting player can be.
    • 66 Metascore
    • 70 Richard Corliss
    On its own, Captain America is a modestly engaging little-big movie in the median range: well below the first "Iron Man," somewhat above "X-Men: First Class."
    • 56 Metascore
    • 70 Richard Corliss
    Chow Yun-fat, the epitome of swaggering suavity in John Woo's Hong Kong crime films, wears his role as a good-bad cop dapperly in this good-middling drama set in Manhattan's Chinatown.
    • 56 Metascore
    • 70 Richard Corliss
    So Twilight isn't a masterpiece -- no matter. It rekindles the warmth of great Hollywood romances, where foreplay was the climax and a kiss was never just a kiss.
    • 57 Metascore
    • 70 Richard Corliss
    Accepting Pawlikowski's mood of poetic seriousness may be a chore for some. Others will find this creepy little sonata a dream or nightmare worth succumbing to, and believing in.
    • 57 Metascore
    • 70 Richard Corliss
    The new film is more an embellishment than an improvement on the snazzy Raiders.
    • 71 Metascore
    • 70 Richard Corliss
    Sleepwalk is oddly soothing, like a cup of camomile tea before bedtime.
    • 68 Metascore
    • 70 Richard Corliss
    It's like a restaurant where you go for the food and go back for the atmosphere. Or for the waitress. [13 July 1995]
    • Time
    • 65 Metascore
    • 70 Richard Corliss
    The lumpiness of The Good Lie’s progression – from infancy to adulthood, and from the horrors of war to gentle social comedy and back again – proclaims a respect for facts and truths that can’t be molded into a smooth narrative.
    • 64 Metascore
    • 70 Richard Corliss
    World War II was a historical event, but also a movie genre, and Fury occasionally prints the legend. The rest of it is plenty grim and grisly. Audience members may feel like prisoners of war forced to watch a training-torture film.
    • 81 Metascore
    • 70 Richard Corliss
    Never quite transcending the sum of its agreeably disparate parts, IV is less groovy than gnarled and goofy, but in a studied way. Call it an acquired taste with a kinky savor.
    • 79 Metascore
    • 70 Richard Corliss
    But the actor (Nolte) finds truth in Wade's emotional clumsiness, in the despair of a man who hasn't the tools or the cool to survive. There are too many of these men in life, and not enough films that tell their sad tales.
    • 56 Metascore
    • 70 Richard Corliss
    It's hard to know how to respond to Falling Down: deplore its crudeness or admire its shrewdness. But it is occasionally the movies' job to plunge into the national psyche, root around in its chaotic darkness and return to the surface with some arresting fantasy that helps bring our uglier imaginings into focus. In that sense, this often vulgar and exploitative movie has some value. [1 March 1993, p63]
    • Time
    • 57 Metascore
    • 70 Richard Corliss
    Harold and Kumar are pothead patriots in the first feel-good torture film.
    • 71 Metascore
    • 70 Richard Corliss
    This British film has the regal, clubby aura of Masterpiece Theatre. [21 July 1997, p. 70]
    • Time
    • 53 Metascore
    • 70 Richard Corliss
    Well, it's sorta funny, and most genial: for all their ranking on parents and drooling over hot babes, Wayne and Garth are innocent kids wasting time creatively.
    • 69 Metascore
    • 70 Richard Corliss
    The project loses traction toward the end, as the picture strains to become a full-blooded action film - the very thing it spends the rest of its time mocking. And yet 21 Jump Street earns my genial nod because of its limber, 120-IQ take on the whole notion of movie revivals.
    • 58 Metascore
    • 70 Richard Corliss
    It’s Roberts’ deepest, strongest, liveliest film work.
    • 64 Metascore
    • 70 Richard Corliss
    Though this Nick and Norah have a lot more angst, they're just as worth watching, admiring and cuddling up to.
    • 71 Metascore
    • 70 Richard Corliss
    An epic-size, largely entertaining parable of repression and awakening.
    • 58 Metascore
    • 70 Richard Corliss
    Kurylenko, a lovely Russian-Ukrainian hybrid who is oddly duskied up to look vaguely Latina, is a whiz at raising Quantum's temperature and gradually luring Bond out of his stolid shell.
    • 64 Metascore
    • 70 Richard Corliss
    It’s as if von Trier shot the main scenes while in one of his famous depressive funks, then edited the film in a more cheerful, impish mood. At times, the tantalizing mixture of sexual neurosis and wayward humor in this memoir of a woman of pleasure suggests a collision between "Fanny Hill" and "Annie Hall."
    • 66 Metascore
    • 70 Richard Corliss
    So appealing is Gordon-Levitt that, for great stretches of his new movie, I suspended my disapproval of his character and just went with the nonstop flow. He almost persuaded me that the film is, if not a premium rush, then an economy high.
    • 67 Metascore
    • 70 Richard Corliss
    The Ides of March says that American politics, no less than Italian, is a beachfront property with sharks surfing the waves. That makes this skeptical, savory movie a fitting offering from Hollywood's suavest ambassador to Venice and the world.
    • 40 Metascore
    • 70 Richard Corliss
    The movie is best seen as straightforward, sometimes harrowing melodrama, packed with mistaken identities, beautiful villains, a kindly tourist who can outrace the bad guys, and a lost little girl whom the film brazenly sends onto a highway full of speeding cars. It's as if Dakota Fanning had wandered onto the streets of Ronin.
    • 59 Metascore
    • 70 Richard Corliss
    Savages isn't great cinema, but it's a very alive movie about people who probably ought to be dead.

Top Trailers