Richard Corliss
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For 921 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 921
921 movie reviews
    • 83 Metascore
    • 100 Richard Corliss
    Reitman's blend of comedy and drama, romance and social observation make Up in the Air the ideal movie --- and maybe even a cure -- for the Great Recession blues.
    • 94 Metascore
    • 100 Richard Corliss
    A near-perfect movie about men in war, men at work. Through sturdy imagery and violent action, it says that even Hell needs heroes.
    • 82 Metascore
    • 100 Richard Corliss
    A kind of mashup of "Our Town" and "Village of the Damned," the film is both draining and enthralling.
    • 81 Metascore
    • 100 Richard Corliss
    District 9 proves that genre films, besides being a hell of a lot of fun, can say things you hadn't considered and show stuff you haven't seen.
    • 73 Metascore
    • 100 Richard Corliss
    In an amazing year for animation, The Princess and the Frog is up at the top. Go on, give it a big kiss.
    • 69 Metascore
    • 100 Richard Corliss
    It's just possible that Tarantino, having played a trick on history, is also fooling his fans. They think they're in for a Hollywood-style war movie starring Brad Pitt. What they're really getting is the cagiest, craziest, grandest European film of the year.
    • 97 Metascore
    • 100 Richard Corliss
    One of the strongest movies in recent years.
    • 88 Metascore
    • 100 Richard Corliss
    Up
    Extending the patented Pixar mix of humor and heart, Up is the studio's most deeply emotional and affecting work.
    • 94 Metascore
    • 100 Richard Corliss
    Sideways is by far the year's best American movie.
    • 82 Metascore
    • 100 Richard Corliss
    Beyond dark. It's as black -- and teeming and toxic -- as the mind of the Joker. "Batman Begins," the 2005 film that launched Nolan's series, was a mere five-finger exercise. This is the full symphony.
    • 94 Metascore
    • 100 Richard Corliss
    It works; this is Pixar's most enthralling entertainment since "Nemo."
    • 89 Metascore
    • 100 Richard Corliss
    Smartly crafted, impeccably acted, The Lives of Others packs a subtle punch, from its creepy first images to its poignant finale.
    • 96 Metascore
    • 100 Richard Corliss
    The subtle colors and textures of the food alone make Ratatouille a three-star Michelin evening.
    • 70 Metascore
    • 100 Richard Corliss
    This film's manifold pleasures come in a series of small packages, with treats inside as tasty as they are unexpected.
    • 94 Metascore
    • 100 Richard Corliss
    The second half of the film elevates all the story elements to Beethovenian crescendo. Here is an epic with literature's depth and opera's splendor -- and one that could be achieved only in movies. What could be more terrific?
    • 73 Metascore
    • 100 Richard Corliss
    Blending plot elements of "Double Indemnity" and "Natural Born Killers" with the ripe sensuality of Francis Coppola's take on "Dracula," the film should make audiences sit up in startled pleasure, as if they'd just received the most luscious neck-bite.
    • 89 Metascore
    • 100 Richard Corliss
    The cast list is like a convocation of the Three Chinas: Taiwan's Kaneshiro, Hong Kong's Lau and the mainland's Zhang Ziyi. All are terrific, but the lady shines brightest.
    • 90 Metascore
    • 100 Richard Corliss
    The controversial film that is unbearable--and unmissable.
    • 85 Metascore
    • 100 Richard Corliss
    The movie is one continuous, exhausting, exhilarating chase.
    • 74 Metascore
    • 100 Richard Corliss
    Sin City is brazenly, thrillingly alive.
    • 78 Metascore
    • 100 Richard Corliss
    Moviemaking doesn't get much smarter, funnier, handsomer, better than this.
    • 80 Metascore
    • 100 Richard Corliss
    Saraband makes for a powerful and poignant final roar from the grand old man of cinema--the movies' lion king.
    • 83 Metascore
    • 100 Richard Corliss
    We the viewers are its beneficiaries, watching and waiting for something awful to happen. Here it does, first subtly, then spectacularly. The twist is not revealed until the last shot--if you keep your avid eyes open.
    • 73 Metascore
    • 100 Richard Corliss
    The first great movie of the summer.
    • 72 Metascore
    • 100 Richard Corliss
    The best Hollywood movies always knew how to sneak a beguiling subtext into a crowd-pleasing story. Superman Returns is in that grand tradition. That's why it's beyond Super. It's superb.
    • 79 Metascore
    • 100 Richard Corliss
    Clint Eastwood has crafted a bold and meticulous epic.
    • 70 Metascore
    • 100 Richard Corliss
    This is high, and high-wire, melodrama. It's less soap opera than grand opera, where matters of love and death are played at a perfect fever pitch. And grand this Golden Flower is.
    • 81 Metascore
    • 100 Richard Corliss
    The best, surely the smartest, English-language movie of the year to date.
    • 83 Metascore
    • 100 Richard Corliss
    A final word for those of you who just don't care for musicals: The movie's true lyricism is less in its score than in its visual and emotional palette, and in watching Depp rise to the majesty of madness. So give Sweeney Todd a try. Even Victor, when he finally saw it, agreed: it's bloody great.
    • 84 Metascore
    • 100 Richard Corliss
    Three decades ago, Milk and his ilk were able to enlist President Jimmy Carter and future President Ronald Reagan in the gay fight against Prop. 6. But this fall, Barack Obama was all but mute on Prop. 8. Some community organizers, like the President-elect, are more cautious than others. It's a shame Harvey Milk wasn't around to recruit him.
    • 63 Metascore
    • 100 Richard Corliss
    An expensive flop and the latest Iraq movie to be shunned by the mass audience, Green Zone was still the year's most visceral, thrilling entertainment.
    • 80 Metascore
    • 100 Richard Corliss
    This is a chase movie (Simon Legree after three Little Evas) across parched outback terrain, captured with rapturous authenticity by cinematographer Christopher Doyle.
    • 83 Metascore
    • 100 Richard Corliss
    The most beguiling romantic comedy this side of "Broadcast News." [11 Jan 1988]
    • Time
    • 90 Metascore
    • 100 Richard Corliss
    In a style of agitated naturalism, Jordan examines poignant matters of life and death, sex and friendship, duty and loyalty, freedom and bondage, manhood and womanhood and all the ambiguous areas in between. [30 Nov 1992]
    • Time
    • 77 Metascore
    • 100 Richard Corliss
    The result is that rare Hollywood achievement, an adventure of the intelligent spirit. From lift-off to splashdown, Apollo 13 gives one hell of a ride. [3 July 1995]
    • Time
    • 70 Metascore
    • 100 Richard Corliss
    This is a declaration of love: The Opposite of Sex is the smartest, edgiest, most human and handsomely acted romantic comedy in elephant years.
    • 93 Metascore
    • 100 Richard Corliss
    A marvelously sad and funny docucomedy. [22 Oct 1990]
    • Time
    • 86 Metascore
    • 100 Richard Corliss
    Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]
    • Time
    • 73 Metascore
    • 100 Richard Corliss
    Shelton has written the wittiest, busiest screenplay since Moonstruck, and his three stars do their very best screen work. [20 June 1988]
    • Time
    • 87 Metascore
    • 100 Richard Corliss
    This is spellbinding reality cinema about duplicity and, worse, ignorance at the highest level.
    • 84 Metascore
    • 100 Richard Corliss
    As thoughtful as it is handsomely acted. Caine's subtle, bold performance should guarantee him an aisle seat on Oscar night.
    • 86 Metascore
    • 100 Richard Corliss
    What amazes is that at just 26, Soderbergh displays the three qualities associated with mature filmmakers: a unique authorial voice, a spooky camera assurance, and the easy control of ensemble acting. [31 July 1989, p.65]
    • Time
    • 74 Metascore
    • 100 Richard Corliss
    A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]
    • Time
    • 66 Metascore
    • 100 Richard Corliss
    It is as cool and distant as the planet the Strangers come from. But, Lord, is Dark City a wonder to see. [2 March 1998]
    • Time
    • 77 Metascore
    • 100 Richard Corliss
    As you watch this enchanting fantasy, feel free to be thrilled or to giggle, as you wish. This time, Happily Ever After lasts 98 minutes. [21 Sept 1987]
    • Time
    • 87 Metascore
    • 100 Richard Corliss
    The true, rare glamour of the piece is its revival of two precious movie tropes: the flourishing of words for their majesty and fun, and--in the love play between Fiennes and his enchantress--the kindling of a playfully adult eroticism.
    • 87 Metascore
    • 100 Richard Corliss
    To transport picturegoers to a unique place in the glare of the earth, in the darkness of the heart--this, you realize with a gasp of joy, is what movies can do.
    • 86 Metascore
    • 100 Richard Corliss
    A coda that will have the movie's audience gasping in exhilarated exhaustion, whispering astonished gratitude to Sokurov for having created vigorous art out of 21st century video technique and asking themselves, "What's the Russian word for Wow!?"
    • 91 Metascore
    • 100 Richard Corliss
    It is a ripping yarn and a spectacularly new and odd vision.
    • 90 Metascore
    • 100 Richard Corliss
    Hannah and Her Sisters is old-fashioned in another sense: its plot has the elegant geometry of a Philip Barry play. [Feb 3, 1986]
    • Time
    • 77 Metascore
    • 100 Richard Corliss
    At the end, the movie tops itself with comic outtakes, undoubtedly the funniest finale of any cartoon feature. “Antz” may have amused viewers with its sidewise wit, but as a comprehensive vision of computerized moviemaking, Pixar's dream works. And when A Bug's Life hits its stride, it's antastic.
    • 81 Metascore
    • 100 Richard Corliss
    Master and Commander is to movies what Russell Crowe is to acting. With subtlety and power, it explores the complexities of men at war, even with themselves. It puts the passion into action, and the thrill into thought.
    • 78 Metascore
    • 100 Richard Corliss
    A technical knockout. [29 June 1987]
    • Time
    • 91 Metascore
    • 100 Richard Corliss
    Triplettes is terrific…there's no competition for the fall's most imaginative delight. In that race, Triplettes can already take its victory lap.
    • 73 Metascore
    • 100 Richard Corliss
    Intoxicating. [19 Dec 1988, p.78]
    • Time
    • 94 Metascore
    • 100 Richard Corliss
    It towers over the year's other movies as majestically and menacingly as a gang lord at a preschool. [10 Oct 1994]
    • Time
    • 90 Metascore
    • 100 Richard Corliss
    So Almost Famous is almost fabulous. Oh, all right. The movie's so clever and endearing, you can forget the almost.
    • Time
    • 88 Metascore
    • 100 Richard Corliss
    There is not a more daft, more original or haunting vision to be seen on American movie screens this year... A terrific movie has escaped the asylum without a lobotomy. The good guys, the few directors itching to make films away from the assembly line, won one for a change. [30 Dec 1985, p.84]
    • Time
    • 93 Metascore
    • 100 Richard Corliss
    Crouching Tiger is contemplative, and it kicks ass. Or put it this way: it's a powerful film and a terrific movie.
    • Time
    • 94 Metascore
    • 100 Richard Corliss
    Artful but not arty, Spirited Away is a handcrafted cartoon, as personal as an Utamaro painting, yet its breadth and heart give it an appeal that should touch American viewers of all ages.
    • 82 Metascore
    • 100 Richard Corliss
    Unforgiven questions the rules of a macho genre, summing up and maybe atoning for the flinty violence that made Eastwood famous. [10 Aug 1992]
    • Time
    • 89 Metascore
    • 100 Richard Corliss
    So it is Scorsese's triumph that GoodFellas offers the fastest, sharpest 2 1/2-hr. ride in recent film history. [Sept 24, 1990]
    • Time
    • 73 Metascore
    • 100 Richard Corliss
    A grand and poignant movie epic about what is lost in war and what's worth saving in life. It is also a rare blend of purity and maturity -- the year's most rapturous love story.
    • 84 Metascore
    • 100 Richard Corliss
    Hero is the masterpiece. It employs unparalleled visual splendor to show why men must make war to secure the peace and how warriors may find their true destiny as lovers.
    • 69 Metascore
    • 100 Richard Corliss
    By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.
    • 79 Metascore
    • 100 Richard Corliss
    The film is seductive, disturbing, enthralling -- a trip to hell that gives the passengers a great ride.
    • 82 Metascore
    • 100 Richard Corliss
    Three of the hippest indie film princes make a perfect commercial comedy.
    • 92 Metascore
    • 100 Richard Corliss
    Though faithful in every detail to Tolkien, it has a vigorous life of its own -- grandeur, moral heft and emotional depth.
    • Time
    • 88 Metascore
    • 100 Richard Corliss
    Towers, while not quite so varied as Fellowship in its moods and settings, has a grave gusto that energizes every moment...a thrilling work of film craft.
    • 93 Metascore
    • 100 Richard Corliss
    "How perfectly goddamned delightful it all is, to be sure." Irony aside, that's how to respond to this magnificent study in ink and blood.
    • 74 Metascore
    • 100 Richard Corliss
    Inception is precisely the kind of brainy, ambitious, grand-scale adventure Hollywood should be making more of.
    • 69 Metascore
    • 100 Richard Corliss
    Poignant, troubling and altogether splendid new film.
    • 92 Metascore
    • 100 Richard Corliss
    An instant classic.
    • 65 Metascore
    • 100 Richard Corliss
    It's a cocktail-party movie with a Molotov-cocktail finish: a tribute to the 88-year-old auteur's artistry - and his con artistry as well.
    • 69 Metascore
    • 100 Richard Corliss
    His films will never be mainstream fare; audiences who wander into the theater may well find them derisive, needlessly shocking, perhaps unforgivable. But I'd call them, and especially Life During Wartime, unforgettable.
    • 95 Metascore
    • 100 Richard Corliss
    The rewards for paying attention are mammoth and exhilarating. This is a high-IQ movie that gives viewers an IQ high.
    • 81 Metascore
    • 100 Richard Corliss
    This is more than an Important Documentary: it is engaging and, finally, enraging - as captivating as any "Superman" movie, and as poignant as a child's plea for help.
    • 88 Metascore
    • 100 Richard Corliss
    This is a true-life heist movie, and the thieves not only got away with their billions, they're still doing business. Pay attention and blow a gasket.
    • 76 Metascore
    • 100 Richard Corliss
    Kidman, in a career-best performance, and Eckhart lend pitch-perfect calibration to the couple's shared and separate agonies. It's as if previous treatments of the subject were a series of failed experiments, and Rabbit Hole is the Eureka! moment.
    • 68 Metascore
    • 100 Richard Corliss
    What explosive mischief might they create? That's the premise of Morris' brilliantly incendiary new comedy Four Lions.
    • 75 Metascore
    • 100 Richard Corliss
    No goggles, no gloom. And no competition for the coolest, orneriest, funniest, best-looking movie of early 2011.
    • 72 Metascore
    • 100 Richard Corliss
    The year's most thrilling, FEELING mainstream movie.
    • 83 Metascore
    • 100 Richard Corliss
    Bursting with earned emotion, Hugo is a mechanism that comes to life at the turn of a key in the shape of a heart.
    • 72 Metascore
    • 100 Richard Corliss
    In his most painterly film, Spielberg has appropriated the lavish visual palette of John Ford movies: "The Quiet Man" for the rural settings, "The Horse Soldiers" for the war scenes. Boldly emotional, nakedly heartfelt, War Horse will leave only the stoniest hearts untouched.
    • 68 Metascore
    • 100 Richard Corliss
    As both a simian simile and a wonder of technology, Rise of the Planet of the Apes deserves to be in the company of the great original "Kong." This year's sixth "origins" story of a fantasy franchise (after The Green Hornet, Thor, X-Men: First Class, Green Lantern and Captain America: The First Avenger) is also the year's finest action movie.
    • 82 Metascore
    • 100 Richard Corliss
    The movie is a museum of emotions, brought to contemporary life through the director's artistry and his leading lady's fire. Here, they show us, is how people felt, and hurt, in another time. Their love and pain can touch us today.
    • 79 Metascore
    • 100 Richard Corliss
    Pi is a giant leap forward, outward and upward in expanding the resources of the evolving medium of movies. Magical realism was rarely so magical and never before so real.
    • 78 Metascore
    • 100 Richard Corliss
    "The Avengers" is kid stuff compared with this meditation on mortal loss and heroic frailty. For once a melodrama with pulp origins convinces viewers that it can be the modern equivalent to Greek myths or a Jonathan Swift satire. TDKR is that big, that bitter - a film of grand ambitions and epic achievement. The most eagerly anticipated movie of summer 2012 was worth waiting for.
    • 96 Metascore
    • 100 Richard Corliss
    Gravity shows us the glory of cinema’s future. It thrills on so many levels. And because Cuar‪ón is a movie visionary of the highest order, you truly can’t beat the view.
    • 95 Metascore
    • 100 Richard Corliss
    However ripe A Separation might seem for being adapted into a smart American film, Hollywood shouldn't bother. Farhadi's movie is just about perfect as it is.
    • 75 Metascore
    • 100 Richard Corliss
    The movie is not just spectacle; it's got a tender, ultimately tragic love story and enough deadly political scheming to fill a Gaddafi playbook. Indeed, in its narrative cunning, luscious production design and martial-arts balletics, Detective Dee is up there with the first great kung-fu art film, King Hu's 1969 "A Touch of Zen." We'd call it "Crouching Tiger, Freakin' Masterpiece."
    • 97 Metascore
    • 100 Richard Corliss
    A document that is raw, eloquent, horrifying and essential.
    • 95 Metascore
    • 100 Richard Corliss
    The word docudrama doesn't hint at Boal's achievement. This is movie journalism that snaps and stings, that purifies a decade's clamor and clutter into narrative clarity, with a salutary kick.
    • 86 Metascore
    • 100 Richard Corliss
    Mark down the date: June 27. That's when American moviegoers will see this perfect storm of a film, and the tiny force of nature that is Quvenzhané Wallis.
    • 82 Metascore
    • 100 Richard Corliss
    The funniest, cleverest, most exhaustingly exhilarating animated feature in ages.
    • 84 Metascore
    • 100 Richard Corliss
    It's an exhilarating trip of movie madness and sadness.
    • 90 Metascore
    • 100 Richard Corliss
    Reveling in its ’70s milieu and in the eternal abrasion of sexy women and covetous men, American Hustle is an urban eruption of flat-out fun — the sharpest, most exhilarating comedy in years. Anyone who says otherwise must be conning you.
    • 90 Metascore
    • 100 Richard Corliss
    Her
    Jonze creates the splendid anachronism of a movie romance that is laugh-and-cry and warm all over, totally sweet and utterly serious.
    • 71 Metascore
    • 100 Richard Corliss
    In 2007, Jamie Foxx won Best Actor for his subtle performance as Ray Charles. Boseman exceeds that solid standard. Incarnating James Brown in all his ornery uniqueness, he deserves a Pulitzer, a Nobel and instant election to the Rock and Roll Hall of Fame.
    • 100 Metascore
    • 100 Richard Corliss
    A home movie of a fictional home life, an epic assembled from vignettes, Boyhood shimmers with unforced reality. It shows how an ordinary life can be reflected in an extraordinary movie.
    • 83 Metascore
    • 90 Richard Corliss
    Embrace the movie -- surely the most vivid and persuasive creation of a fantasy world ever seen in the history of moving pictures -- as a total sensory, sensuous, sensual experience.
    • 77 Metascore
    • 90 Richard Corliss
    Tom Ford -- the Texas-born fashion designer who for a decade was the creative director at Gucci -- financed this first feature himself. The producer couldn't have hired a smarter director.
    • 67 Metascore
    • 90 Richard Corliss
    No film with an ambition this large, and achievement this impressive, can be anything but exhilarating, a vital affirmation of the creative process.
    • 79 Metascore
    • 90 Richard Corliss
    Some of us knows that there's an American style -- best displayed in the big, smart, kid-friendly epic -- that few other cinemas even aspire to, and none can touch. When it works, as it does here, it rekindles even a cynic's movie love. So cheers to Downey, Favreau and the Iron Man production company. They don't call it Marvel for nothing.
    • 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.
    • 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.
    • 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.
    • 88 Metascore
    • 90 Richard Corliss
    Hoffman and the film are terrific. Supported by the eminent Catherine Keener (as author Harper Lee) and Chris Cooper (as detective Alvin Dewey), Hoffman begins with a dead-on impersonation of Capote that soon becomes a kind of channeling as the audience comes to see this American tragedy through his eyes.
    • 80 Metascore
    • 90 Richard Corliss
    The perfect e-ticket for a flight of fancy into a world far more gorgeous than our own. The film doesn't halve itself to appeal to two generations. At its best, it turns all moviegoers into innocent kids, slack-jawed with wonder.
    • 64 Metascore
    • 90 Richard Corliss
    Proof is on the side of the lost, blessed souls. Paltrow, as alluring and reassuring as ever, emphasizes the blessedness in the isolation of genius, giving a new dimension to a complex role. New, true and thrilling--she is the Catherine that Proof was waiting for.
    • 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.
    • 87 Metascore
    • 90 Richard Corliss
    The whole rollicking adventure zips along a mile a minute.
    • 74 Metascore
    • 90 Richard Corliss
    Both horrifying and hopeful.
    • 71 Metascore
    • 90 Richard Corliss
    Not just a ripping yarn but a powerful, poignant coming-of-age story.
    • 80 Metascore
    • 90 Richard Corliss
    So, for those of you who were wondering if a great TV show could top itself at feature-film length, the good news is that The Simpsons did it! But "South Park" did it first.
    • 51 Metascore
    • 90 Richard Corliss
    Sexy, funny, sad and defiantly romantic, Feast of Love is the rare movie to cuddle up to.
    • 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.
    • 73 Metascore
    • 90 Richard Corliss
    The new picture provides a master coursed in cunning visual art and ultra-satisfying entertainment.
    • 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.
    • 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.
    • 80 Metascore
    • 90 Richard Corliss
    This miniature epic is a film that, like its young hero, will enrich those who peer into its poignant heart.
    • Time
    • 62 Metascore
    • 90 Richard Corliss
    An easy charm, a cleverly unforced sense of humor and a benignity toward all its genially oddball characters. If moviegoers skip this one, they'll be missing a real treat.
    • Time
    • 45 Metascore
    • 90 Richard Corliss
    The result is Soderberghs liveliest experiment since the strenuously weird "Schizopolis" six years ago -- except that this one works.
    • 76 Metascore
    • 90 Richard Corliss
    Like Harry and Sally, the movie is hardworking, spot on; it winepresses its conversation into epigrams. No surprise here.[31 July 1999, p.65]
    • Time
    • 84 Metascore
    • 90 Richard Corliss
    Droll, reticent, flawlessly filmed fable of generosity.
    • 67 Metascore
    • 90 Richard Corliss
    Beetlejuice means something good: that imaginative artists can bring a fading genre back from the dead. [11 Apr 1988]
    • Time
    • 74 Metascore
    • 90 Richard Corliss
    Has a whirligig wit, and 11 songs crammed into its 67 minutes: that's more melodic content than in most Broadway musicals.
    • 81 Metascore
    • 90 Richard Corliss
    The sweetest and funniest of Guest's true-life fake-umentaries.
    • 57 Metascore
    • 90 Richard Corliss
    A banquet of creepy, gory or grotesque incidents is on display in Hannibal. but this superior sequel has romance in its dark heart.
    • Time
    • 84 Metascore
    • 90 Richard Corliss
    The viewer almost has to be a journalist--or a good editor--to sniff out the meat under all the fat.
    • 64 Metascore
    • 90 Richard Corliss
    But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
    • Time
    • 90 Metascore
    • 90 Richard Corliss
    Redux is both a reminder of American cinema's last glory days and a rebuke to the timid present. Maybe Apocalypse Now wasn't the best movie of 1979, but Redux is surely the film to beat for 2001.
    • Time
    • 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
    • 94 Metascore
    • 90 Richard Corliss
    The performances are daring and assured, especially Lansbury's holy terror of Momism and Harvey's snide, pathetic pawn, brainwashed by both KGB AND CIA. [21 March 1988, p.84]
    • Time
    • 84 Metascore
    • 90 Richard Corliss
    Plenty of tech-noir savvy to keep infidels and action fans satisfied.[26 Nov 1984, p. 105]
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    The film is about joy--in conniving and surviving, in connecting with audiences, in its own fizzy, jizzy style.
    • 86 Metascore
    • 90 Richard Corliss
    The rhythm of rural life has rarely seemed so lucid and luminous.
    • Time
    • 53 Metascore
    • 90 Richard Corliss
    An exhilarating two hours of serious fun.
    • Time
    • 79 Metascore
    • 90 Richard Corliss
    The next time you hear a director complain about the studio or his stars or the weather or whatever, think of what Jorgen Leth achieved with Lars von Trier as his boss -- when five obstructions became five splendid opportunities.
    • 91 Metascore
    • 90 Richard Corliss
    Rich in humor, pained or frolicking.
    • 71 Metascore
    • 90 Richard Corliss
    Green shoots his groping lovers in the art-film style -- long takes, static frame -- but his tone isn't at all minimalist; it's achingly, breathtakingly romantic, like the old Hollywood love stories his kids have never seen.
    • 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.
    • 78 Metascore
    • 90 Richard Corliss
    The film is a gorgeous garland on an unknown soldier's grave.
    • 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.
    • 87 Metascore
    • 90 Richard Corliss
    The most mature and satisfying work in a glittering, consistently surprising career.
    • Time
    • 68 Metascore
    • 90 Richard Corliss
    For dinosaurs to rule the earth again, the monsters needed majesty as well as menace. And Spielberg got it all right. [14 June 1993, p.69]
    • Time
    • 60 Metascore
    • 90 Richard Corliss
    This darkly seductive, flawlessly acted piece is worlds removed from most horror films. Here monsters have their grandeur, heroes their gravity. And when they collide, a dance of death ensues between two souls doomed to understand each other.
    • 76 Metascore
    • 90 Richard Corliss
    Whatever city this one is showing in...move there.
    • 78 Metascore
    • 90 Richard Corliss
    Most of the movie is Actors Acting: gifted guys (Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn) running nattering riffs on familiar lout themes. [16 Nov 1992]
    • Time
    • 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
    • 63 Metascore
    • 90 Richard Corliss
    This is an original work in an antique mood. The actors and authors all have fun with the genre without making fun of it. Rather, they revive it.
    • 90 Metascore
    • 90 Richard Corliss
    Hollywood's smartest media satire in years--and a breakthrough for Jim Carrey.
    • 72 Metascore
    • 90 Richard Corliss
    Rambunctious, disturbing, often hilarious new documentary.
    • 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.
    • 73 Metascore
    • 90 Richard Corliss
    It blends tension and emotion, computer wizardry and dramatic skill in a vigorous climax--and the most impressive, haunting final shot of the movie year.
    • 74 Metascore
    • 90 Richard Corliss
    This is rapture in pictures. [22 December 1997, p. 81]
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    A gravely beautiful fairy tale of longing and loss. [20 Sept 1993, p.82]
    • Time
    • 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.
    • 90 Metascore
    • 90 Richard Corliss
    Weird, beguiling premise.
    • 90 Metascore
    • 90 Richard Corliss
    Nemo, with its ravishing underwater fantasia, manages to trump the design glamour of earlier Pixar films.
    • 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
    • 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.
    • 88 Metascore
    • 90 Richard Corliss
    In this arid landscape, the edifice of Ghost World, with all its acute insolence, stands out like the Taj Mahal.
    • Time
    • 90 Metascore
    • 90 Richard Corliss
    The Incredibles has those characters, that heart.
    • 81 Metascore
    • 90 Richard Corliss
    Viewers will feel as though they've just finished a great meal but aren't sure what they've been served. Behind them, the chef smiles wickedly.
    • 89 Metascore
    • 90 Richard Corliss
    Campion has spun a fable as potently romantic as a Bronte tale. But The Piano is also deeply cinematic. [22 Nov 1993]
    • Time
    • 73 Metascore
    • 90 Richard Corliss
    Ray
    If there were an Oscar for ensemble acting, Ray would win in a stroll.
    • 76 Metascore
    • 90 Richard Corliss
    Can a movie have too much good stuff? Not when it's stuffed like this one.
    • 65 Metascore
    • 90 Richard Corliss
    Funny, hurtful, splendidly acted.
    • 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
    • 78 Metascore
    • 90 Richard Corliss
    The poise and passion in Eve's Bayou leave one grateful, exhausted and nourished. For the restless spirit, here is true soul food.
    • 58 Metascore
    • 90 Richard Corliss
    Because she also has a classical heroine's sense of quest, the picture's Pocahontas rises above stodgy old legend into the sky of myth... That's apt for a role model for any child, red or white. And it's perfect for a film romance that earns a place of honor among Disney's latter-day animated film stunners.
    • 45 Metascore
    • 90 Richard Corliss
    But this Evita is not just a long, complex music video; it works and breathes like a real movie, with characters worthy of our affection and deepest suspicions.
    • 75 Metascore
    • 90 Richard Corliss
    But the writer-director is canny enough to salt the stew with poignance, so that by the end these attitude machines have become human beings -- more than the sum of their chiseled jokes.
    • 79 Metascore
    • 90 Richard Corliss
    The movie hits every emotional button with a firm fist. It makes the phrase feel-good sound like a command from the industry's P.C. Patrol.
    • 68 Metascore
    • 90 Richard Corliss
    A careful, finally powerful film.
    • 89 Metascore
    • 90 Richard Corliss
    It could as well be called Best Thing of Undetermined Species.
    • 79 Metascore
    • 90 Richard Corliss
    A gross-your-eyes-out horror movie that is also the year's most poignant romance.
    • 86 Metascore
    • 90 Richard Corliss
    The film is wonderfully cast and played, right down to the bit player (Ralph Tabakin) who shops suspiciously for a TV set: "I saw Bananzo and it was not for me."
    • 58 Metascore
    • 90 Richard Corliss
    Director Barry Levinson and screenwriter Paul Attanasio are great guys to waste time with. The latter has a real flair for writing strong, confrontational scenes -- brisk, needling, well shaped -- and the former stages them with coolly concentrated intensity. And the cast is terrific. [19 Dec 1994, p.75]
    • Time
    • 72 Metascore
    • 90 Richard Corliss
    JFK
    Through his art and passion, Stone makes JFK plausible, and turns his thesis of a coup d'etat into fodder for renewed debate.
    • 71 Metascore
    • 90 Richard Corliss
    The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]
    • Time
    • 83 Metascore
    • 90 Richard Corliss
    Big and pretty, vigorous, thoughtful, this Hamlet expands the story with helpful flashbacks.
    • 87 Metascore
    • 90 Richard Corliss
    Director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic.
    • 84 Metascore
    • 90 Richard Corliss
    In this judicious, irresistible romantic comedy, all the performers are tops. [14 Dec 1987, p.82]
    • Time
    • 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.
    • 66 Metascore
    • 90 Richard Corliss
    Kick-Ass moves with such bloody assurance that you'd be forgiven for not seeing how smart it is. But smart it is. Smart, important and deadly.
    • 83 Metascore
    • 90 Richard Corliss
    A contemplative crime drama with a high startlement quotient.
    • 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.
    • 87 Metascore
    • 90 Richard Corliss
    It is indeed impressive; and we mean not just this solid, satisfying final film - in which the Potter saga reaches its climax, if not quite its emotional apex - but the entirety of producer David Heyman's blockbuster franchise.
    • 87 Metascore
    • 90 Richard Corliss
    His performance is a canny portrait of leadership - part genius, part crazy guts, part dumb luck - and worthy of moving Pitt up to the playoff round of Oscar finalists for Best Actor. We'd put money on it.
    • 76 Metascore
    • 90 Richard Corliss
    It's a cagey delight, and an imposing feature directorial debut for one of Britain's TV stalwarts.
    • 82 Metascore
    • 90 Richard Corliss
    The Trip may have familiar elements - it's pretty much "My Dinner With Andre" pinned to the plot of Alexander Payne's "Sideways" - but the badinage provides an immediate and lasting kick, as well as the spectacle of two champion combatants at the top of their game.
    • 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.
    • 74 Metascore
    • 90 Richard Corliss
    A documentary as vivid as any horror film, as heartbreaking as any Oscar-worthy drama.
    • 86 Metascore
    • 90 Richard Corliss
    Matthews brings to The Interrupters what every terrific documentary needs: an out-of-nowhere personality with the same magnetic watchability as any Hollywood star.
    • 80 Metascore
    • 90 Richard Corliss
    Miss Bala is a tragedy rendered with the savviest, moviewise virtuosity. A young woman's despair, and a nation's, was never so damned entertaining.
    • 74 Metascore
    • 90 Richard Corliss
    Frankenweenie has that youthful verve and the ghoulishness of strange kids who will some day be eccentric creators. This movie is an attic experiment for its makers to be proud of and for audiences to cherish.
    • 68 Metascore
    • 90 Richard Corliss
    Darren Aronofsky brings wild ambition and thrilling artistry to one of the Old Testament’s best-known, most dramatic, least plausible stories — Noah and the ark — with Russell Crowe infusing the role of God’s first seaman and zookeeper with all his surly majesty.
    • 75 Metascore
    • 90 Richard Corliss
    Side Effects virtually demands a three-word review: Just see it.
    • 76 Metascore
    • 90 Richard Corliss
    A canny director and a top star decided to dig deep to find the core of a compromised hero. And when they reach that center of gravity, Flight soars.
    • 75 Metascore
    • 90 Richard Corliss
    Repressing its rage to tell an important story, The Invisible War identifies soldiers who are true heroes because they dared to fight for justice.
    • 66 Metascore
    • 90 Richard Corliss
    Solondz's most waywardly endearing film - his gentlest triumph.
    • 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.
    • 61 Metascore
    • 90 Richard Corliss
    A devious mind game, Trance is also the most entertaining smart movie so far this year.
    • 84 Metascore
    • 90 Richard Corliss
    This is a bold, drastic and utterly persuasive inhabiting of a doomed fighter by a performer who has graduated from the shirtless rom-com Romeo of the last decade to indie-film actor du jour.
    • 83 Metascore
    • 90 Richard Corliss
    It is vigorous, subtle, thematically daring, visually gorgeous.
    • 61 Metascore
    • 90 Richard Corliss
    The summer’s best, coolest, juiciest, smartest action movie.