Richard Corliss

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For 948 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 points higher than other critics. (0-100 point scale)

Richard Corliss' Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A Separation
Lowest review score: 0 Showgirls
Score distribution:
  1. Negative: 92 out of 948
948 movie reviews
    • 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
    • 83 Metascore
    • 90 Richard Corliss
    This being a Tarantino film, the conversations are as long and lurid and finely choreographed as the martial-arts set pieces.
    • 64 Metascore
    • 90 Richard Corliss
    Wu is a fine, supple tabula rasa; McGregor (Trainspotting) shows again that he is one of the boldest, most charming young actors.
    • 85 Metascore
    • 90 Richard Corliss
    If this madly entertaining movie has a fault, it's that it's too ingenious for the genre it ostensibly inhabits.
    • 66 Metascore
    • 90 Richard Corliss
    Smaug is different: a really good movie, superior to the first in that it brings its characters to rambunctious life.
    • 82 Metascore
    • 90 Richard Corliss
    The Squid and the Whale is domestic tragedy recollected as comedy: a film whose catalog of deceits and embarrassments, and of love pratfalling over itself, makes it as (excruciatingly) painful as it is (exhilaratingly) funny.
    • 78 Metascore
    • 90 Richard Corliss
    The film is a gorgeous garland on an unknown soldier's grave.
    • 90 Metascore
    • 90 Richard Corliss
    Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
    • 69 Metascore
    • 90 Richard Corliss
    A picture about war and politics that has manages to be both rational and inspirational. It is also the year's funniest smart movie.
    • 83 Metascore
    • 90 Richard Corliss
    The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
    • 62 Metascore
    • 90 Richard Corliss
    It's a terrific movie. I love the look and the verve of the thing, the confidence of its epic design, its smart use of half a dozen noted British thesps, lending weight and wit to the supporting roles.
    • 90 Metascore
    • 90 Richard Corliss
    Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.
    • 83 Metascore
    • 90 Richard Corliss
    A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]
    • Time
    • 76 Metascore
    • 90 Richard Corliss
    Miller suggests violence; he does not exploit it. He throws the viewer off-balance by mixing the ricochet rhythms of his chase scenes with tableaux of Walpurgisnacht grandeur.
    • 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.
    • 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
    • 86 Metascore
    • 90 Richard Corliss
    Apted...has the storytelling skills to weave a powerful and poignant snapshot of some decent folks who have become, collectively, Britain's first family.
    • 85 Metascore
    • 90 Richard Corliss
    This enthralling, enigmatic, romantic drama from Asia's most influential auteur (Chungking Express) is an essay in appetite and inhibition.
    • 61 Metascore
    • 90 Richard Corliss
    The summer’s best, coolest, juiciest, smartest action movie.
    • 55 Metascore
    • 90 Richard Corliss
    To their old fascination with Sunbelt pathology, to their side-winding Steadicam and pristine command of screen space, the Coens have added a robust humor, a plot that keeps outwitting expectations and a surprising dollop of sympathy for their forlorn kidnapers. [23 March 1987]
    • Time
    • 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.
    • 82 Metascore
    • 90 Richard Corliss
    This is a survival manual turned into an existential prison-break movie; it cuts deep and, at its ecstatic climax, soars high.
    • 75 Metascore
    • 90 Richard Corliss
    Side Effects virtually demands a three-word review: Just see it.
    • 58 Metascore
    • 90 Richard Corliss
    This is a test, requiring rapt concentration and acute attention, and repaying a hundredfold. For spectators dulled by the midget movies of an arrtstically timid era, the film may be a chore. For those on Malick’s rarified wavelength, it’s a wonder.
    • 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
    • 51 Metascore
    • 90 Richard Corliss
    Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
    • 78 Metascore
    • 90 Richard Corliss
    Fincher, whose work on "Fight Club" and "Panic Room" displayed his expertise in melding the suspenseful and the lurid, plays it cool here. He lets his stars do their thing.
    • 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.
    • 78 Metascore
    • 90 Richard Corliss
    If the film is just as strange and endearing as its glowing protagonist -- and it is -- that's because the director and co-writer (with Mignola) is Guillermo del Toro, 43, who has the wildest imagination and grandest ambitions of anybody in modern movies.
    • 72 Metascore
    • 90 Richard Corliss
    This is a serious filmgoer's treat: intelligence cloaked in elegance.

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